Focus on engineers, behind-the-scenes heroes in architecture, design and technology development: V&A "Engineering Season" exhibition

We often admire the imagination of designers and the seemingly infinite creativity. However, they rarely think about the behind-the-scenes of the works, and who are the heroes who ultimately build the physical buildings? Engineers play an extremely important role in all fields, but there is no aura of designers. This time, the famous British art and design museum V&A launched the Engineering Season exhibition during the hot summer season to focus on the importance of “engineering” in daily life. The engineers who are often considered to be silent and homes are actually the unsung heroes who have made various designs in life into concrete, creating living spaces and advancing the development of scientific and technological tools. Structural engineers appearing in the construction sector are actually very late. In most ancient engineering constructions, the designers did not clearly distinguish themselves in the design of buildings or structures; but with the continuous advancement of modern building technology, the division of labor and cooperation between architects and structural engineers has become the standard model for achieving architecture. The exhibition's main "Engineering the World" is the first retrospective of the legendary structure master Ove Arup in his 30 years of death. Known for its imaginative and technological innovation, Ove Arup leads the way in modern architecture. His core philosophy is to initially turn experts in all areas of the project through Collaborative Design and Total Design. The pioneers of cross-domain design have established the theoretical and practical methods of engineering today. The exhibition also saw many precious blueprints, manuscripts and models first exposed. The Sydney Opera House is arguably the most representative structure of Arup's life. This complex structure, designed by Danish architect Jorn Utzon, is said to have been inspired by the peeling of oranges and the shape of the petals. It has also made Arup the first person to use computers to help with engineering calculations. This Ferranti Pegasus vacuum tube computer with two large refrigerators saves up to ten years of manual computing power, and thinks about how many calculation papers are saved and how many brain cells are saved! Nowadays, no matter how complicated the building (such as the huge curved lines under Zaha Hadid's hands, it is built by the Arup Group), it can be done with the building information model (BIM) technology, even the simulation technology developed by Arup. It is worth mentioning that since its inception in 1946, the Arup Group has become a consultant with more than 12,000 planning, design, engineering and consultant professionals in the field of design and engineering. The latest research results of several years can also be seen in the exhibition hall. For example, the SolarLeaf (light and leaf energy) curtain wall system creates a building exterior wall with water tanks, in which green algae are cultured for photosynthesis and heat energy is built for the building. In addition, there is WikiHouse, the world's first open source, which allows the public to download freely, print self-assembled energy-saving houses in 3D, and SoundLab (sound lab) that can simulate various sounds in the building space. )Wait. Looking back at Ave Orup's engineering career, we saw Orup...

2016 London Style Gallery Exhibition: Danish architect Bjarke Ingels

Located in Kensington Gardens in Hyde Park, the Serpentine Gallery is London's famous contemporary gallery. Since the launch of the first Serpentine Gallery Pavilion with Zaha Hadid in 2000, each year in the summer, the Serpentine Gallery invites different architectural teams to build a building pavilion as a serpentine gallery. Temporary venues for summer activities each year will be demolished after three months. Now in its 16th year, it has become a major event in the construction industry and one of the must-visit locations for Londoners in the summer. And this plan actually has a lot of rules to follow. First, the invited architects must have never published architectural works in the UK, which means that the building pavilion will be their first work in the UK. When architects design without budget, they are funded by sponsorship and sales of the last building pavilion. But even with such conditions, the first ten years since the launch of the building kiosk in the summer, from the first Zaha Hadid, they have been fought by the big names in the construction industry, including Toyo Ito. Frank Gehry, Rem Koolhaas, Herzog & de Meuron teamed up with Ai Weiwei, Sejima Kazuyo's SANAA office, and the previous year's Sou Foujimoto. Apart from the framework of commercial construction, the architectural pavilion plan of the Serpentine Gallery gives architects a chance to be closer to artistic creation. Through experimental experiments, they explore the beauty and possibilities of architecture. This year's architectural pavilion was created by BIG Architects, founded by Danish architect Bjarke Ingels. Fortunately, at the opening of the building pavilion, I went to the Serpentine Gallery building series sponsored by the clothing brand COS. Bjarke Ingels personally guided the introduction of his design concept and chatted with him about the various architectural aspects. idea. The 40-year-old Bjarke Ingels, full of enthusiasm for exploring all things and sharing knowledge, said at the beginning of the tour that architecture is a "practical Poetry" in his mind - that is, through the aesthetic poetic way of solving everyday life. The actual problems faced. This new star in the construction industry has indeed practiced this concept in the past construction projects. It has built an architectural design that echoes the beautiful snow and snow-like appearance of the Nordic hillsides. At the same time, it is also actively used in each case. Recycling materials save energy and reduce carbon, emphasizing the importance of designing these practical issues for the environment and sustainable development. "For me, the details of everyday life are very inspiring, and all kinds of practical things are very interesting and attractive," Bjarke Ingels said. "This building pavilion is inspired by London. Visible "red brick wall". And the Bjarke Ingels version of the brick wall is made of fiberglass reinforced plastic (Fibre...

YKK London Showroom (below): Uncompromising creativity, interview with YKK Creative Consultant Kaga Miyuki

In an era like ours, the fashion industry is changing at a near dizzying pace, and few people can slow down to examine and explore the artistic qualities of clothing. However, there are still a few designers who directly reject the glamorous and bright fashion of the mainstream fashion industry, and constantly explore and experiment with the possibility of clothing and design. YKK Creative Consultant Kaga Miyuki is such a pioneering fashion designer. While visiting the YKK London Showroom exhibition in London, he also sat down with him to review his own creative career of more than 20 years. In recent years, Kaga Miyuki has served as the judge of the International Talent Support Awards organized by YKK. He has seen the creation of young designers and has published his current status and future for the fashion industry. The perception of the trend. Growing up in Japan, Kaga Miyuki, who studied architecture at the university level, joined the Japanese architect Dashishi Kenzo's office after graduation, but the conservative atmosphere of the Japanese construction industry does not give him the creative space to play properly, so he quickly chose Resigned. On the other hand, Kaga Miyuki was also influenced by Yamamoto, who was always interested in clothing and decided to go to London to find opportunities for the development of the fashion industry. Then he self-recommended to join John Galliano's studio in London. "Galliano is a fearless genius for me. I was inspired a lot there, seeing the design that can be creative and jump off the frame. He recalled. Not long after Galliano traveled to Paris to develop, Kaga Miyuki moved to St. Martin to attend a master's degree in fashion design, and in the same year he had several influential ghost designers, including Alexander McQueen and Hussein Chalayan. However, due to his own desire for freedom, after he graduated, he did not join the big brand work, but designed and worked for a commercial company as a part-time employee, and at the same time established his own brand. In 2000, YKK found him, sponsored his zipper and inspired him to launch a series of fashion designs. At that time, the cooperation was well received, and YKK and Kaga Miyuki signed a long-term appointment as a creative consultant for YKK. And for many years in Milan, the fashion show was held. When he was in the fashion industry for more than 20 years, when he asked about Kaga's views on the future of the industry, he said: "I still remember that when I was studying in St. Martin, the atmosphere in the school was very anti-fashion. We were very Resisting mainstream fashion brands and groups, I feel that the design of big brands is not interesting at all, not cool at all (laugh). Our group includes McQueen and Chalayan (reviewing costume designer Chalayan's first dance in London at the end of last year. Gravity Fatigue"), always like the discussion of the sky and the thoughts of various stories, the discussion is very painful (laugh). However, in the past few years, when ITS judged, I have experienced countless collections and communicated with young designers. What surprised me is that I often hear a lot of young people set their goals or dreams into a big brand to be a designer. I think I can understand that some people may tend to think of fashion as a business. System, and think that it is necessary to find a job very practically; but I really hope that these young people can be more ambitious and more want to break through. The trend I see today is that most new designers are over-focusing on the commercial interests and glamorous parts of the industry, rather than creativity and creation, which also makes me a little worried." ...

YKK London Showroom (on): A new interpretation of the fashion of the zipper industry

Located in the industrial area of ​​high crime rate in the past, the trending people swarmed in the Shoreditch area of ​​Donglun, the zipper manufacturer YKK quietly unveiled its first overseas creative display room, echoing the industrial style of East London, bare cement The exterior wall is stacked with a large number of metal panels to create a unique and rustic yet cool display space. I believe that for the name YKK, everyone is no stranger. Since its establishment, YKK Group has been manufacturing metal fasteners such as zippers for more than 70 years. According to previous reports, YKK has produced more than 700 million zippers a year, which has completely monopolized half of the world's zipper market. Less well-known, this subsidiary manufacturer, which has an important position in the fashion industry value chain, has been cooperating with the OTB Group with DIESEL, Maison Margiela, MARNI and other brands since 2002 to organize the ITS International New Design Awards. (International Talent Support). YKK is sponsored by the ITS Awards for accessory design projects and later with the British fashion magazine Dazed & Confused, giving these cutting-edge designers the opportunity to be exposed in the magazine, actively supporting innovative designs and creating innovative images for their own brands. . The YKK Group has been extremely planning in recent years, and it is an important part of the plan to move the original industrial brand to the positioning of the fashion brand – located in the London showroom. The creative director of the YKK showcase in London, Kei Kagami, a fashion designer known for her avant-garde style, also serves as a creative consultant for YKK. Mr. Kaga, who previously worked as an architect in Japan, is because of this plan. The paintings of the old business, from the display space design to the later construction are all personally involved. I am very fortunate to meet with Kaga, who is in the London exhibition room, to learn more about how to establish a new image of "YKK" and "Zipper" and expand awareness through this unique display room. What kind of contribution and new weather the fashion industry brings. Mr. Kagami said at the beginning that he was actually surprised that YKK’s top management appointed him as a space designer. After he left Japan for the British to change his costume design, he did not engage in any construction related work for more than 20 years. The design and work, but he also believes: "For me, there is no need to rigidly divide the type of design. As long as I can realize the blueprint of my heart to create a concrete and innovative thing, I feel very happy. ...

柏林數位藝術節 Transmediale + CTM 直擊(下):藝術中的數位革命,藝術家施惟捷專訪

Berlin's Digital Arts Festival Transmediale + CTM Direct (below): Digital Revolution in Art, Interview with Artist Shi Weijie

At the Berlin Digital Arts Festival TRANSMEDIALE + CTM, the first part of the exhibition introduces exhibitions and large-scale works. The CTM Festival also includes various sound art performances, forum lectures and workshops. Among them, CDM (Create Digital Music), the largest digital music promotion website in Germany, and NI (Native Instruments), a well-known digital audio and equipment company in Germany, co-organized the "MusicMakers Hacklab" workshop. This one-week essay workshop was attended by artists from all over the world and co-created an experimental musical sound performance in a week. The workshop included the production of sounds through digital codes, homemade instruments and digital music equipment, and the integration of impromptu performances, etc., and the results were presented in the experimental theater HAU in Berlin. CTM 2016's MusicMakers Hacklab is co-hosted by digital audio company Native Instruments. Photography/ Shih Wei Chieh CTM 2016 MusicMakers Hacklab, Future Rituals Photography/ Shih Wei Chieh CTM 2016 MusicMakers Hacklab, Future Rituals — DIY Self-made Line Musical Photography/ Shih Wei Chieh...

柏林數位藝術節 Transmediale + CTM 直擊(上):數位科技的全球性衝擊

Berlin Digital Arts Festival Transmediale + CTM Direct (top): The global impact of digital technology

Every February in Berlin, there are two German heavyweight art festivals, the Berlin Media Festival Transmediale and the Electronic Music and Visual Arts Festival CTM FESTIVAL. Together, these two organizations form the largest digital arts festival in the world, and hope to become an important platform for reflecting cultural changes in the digital environment. Image Source: CTM FESTIVAL 2016 CTM FESTIVAL is an electronic music and visual arts festival for contemporary electronic music, digital and experimental music, and various sound arts. In contrast, today's music field is under tremendous impact from globalization and digitalization. This year's CTM Music Festival is based on the theme of "New Geographies" (new region), which explores the music, sounds and links from all corners of the world. Under the current wave of modernization, observe how music and culture respond and change. Image Source: CTM FESTIVAL 2016 "Disarm (Mechanized)" by Pedro Reyes, CTM FESTIVAL 2016 Image Source: CTM FESTIVAL 2016 One of the specially curated exhibitions "Seismographic Sounds. Visions of a New World" (Concussion Sounds. New World Perspectives) In the middle, more music, sounds and videos from 250 different artists, musicians, scholars and bloggers from 50 different countries. In the exhibition, we are aware of the destruction of the world's music heritage caused by the globalization of digitalization and digitalization. Through the works of different artists, visitors can see the new possibilities of the Internet era and propose contemporary pluralism. Topographies—a view of opposing boundaries that breaks geographical boundaries and opens up new creative fields. DJ Floating Point live performance at CTM FESTIVAL 2016 © CTM Camille Blake Image Source: CTM FESTIVAL 2016...

關於《我們》,那脆弱與矛盾的種種:新銳藝術家黃大維專訪

About "We", the various fragile and contradictory: Interview with the new artist Huang Dawei

The thinking and feelings caused by life are complex and multi-layered, but ultimately they are limited by our linear expression--a state of language, which is believed to be the anxiety and embarrassment that you and I have. Starting from the narrative, Taiwan’s new artist Huang Dawei’s recent solo exhibition “In The Character Of” created a new frame in the left-wing picture by cutting his own paintings; colorful and meticulous works, showing It is the contradiction of human beings: in the state that we cannot fully express ourselves, each person has the fragility of each character, and wants to protect her own frame, fearing that she will be absent from human nature. . In this way, these human nature traits are fragile and precise standing, and mutual checks and balances create various restrictions that are human. And we are like a gust of wind blowing through these cut-through paintings, going through various traits one after another. This feeling of complexity and contradiction also pushes us forward, and then stacks into what we have experienced. Huang Dawei, who traveled to New York in the village last year, can see the different elements of New York from Taipei to his creations. His works continue to discuss the "boundary". Dawei said that everyone began to create boundaries in their own life experience to respect others or protect themselves. These boundaries are different in different states, and because people have different life backgrounds, the boundaries that arise are different, and the private boundaries and operations that they form are also different. He believes that perhaps art cannot be directly understood through the works of art itself, just as we cannot understand ourselves through ourselves - when "I" joins "they", each "I" in different corners of the world, such a " How do we find ourselves with a "I"? With the first solo exhibition held after Huang Dawei returned to Taiwan, we walked into the four-dimensional road in Da'an District, and the hidden and beautiful space canvas Huaboo, together with Dawei, tried to understand herself through art and discussed this slightly philosophical speculation. . . How did you first come into contact with art and painting? My mother once said that I started painting about a year old, and then I will draw a pack of A4 in one day. Finally, my dad had to lock the paper (laugh), and gave me more than ten pieces a day. I want to seriously think about what I was painting at the time. I only had the impression that I was painting a dinosaur. My family used to open a coffee shop (located in the canvas cafe of Normal University, which was closed in 2008). My parents didn’t have much time to take care of me. After class, I would go to the coffee shop, then listen to the guests chatting, couples quarreling, etc... Then I began to try to express your story through painting. It can be said that from small to large, I have been thinking about images. In fact, I have never really read any books before. Instead, I will start to read books in the past few years. However, because Dad himself is also engaged in artistic creation and drawing advertisement illustrations, he was very opposed to my art at the very beginning and felt that it was a very hard road. But since I decided to start creating, I started to communicate with him slowly, and he was more willing to let me try. . What is creation for yourself? For me, painting is an expression that tells the story of life and size. I sometimes like painting very much, but sometimes I don't like it very much; the motivation to draw on it is to learn to get along with my own two faces. I have always been a non-undergraduate department. I used to graffiti and paint some cute things. I started thinking about creating since about 2014. The motivation at that time was actually an anger. Because I wanted to apply for the Paris Academy of Fine Arts that year, I learned the French decision and passed, and finally found that if the non-undergraduate department actually had the age limit for studying, Unable to apply. At that time, it was actually hit hard and I felt that this was a very unfair rule. Why apply to an art academy, not to look at the work but to see the age? I was angry and felt that I didn't need to tell me through the Paris Academy of Fine Arts that I am an artist! I decided to find space for myself, to do my own exhibition, to find the storefront of the National Taiwan Normal University, and to try to draw a large painting. The most interesting place to draw for me is the bottoming out. I have been very serious about making the most of it recently. I feel that it is a state full of any possibility, I can self-precipitate, think about what kind of possibilities, and therefore I know myself better. . Talk about the source of inspiration and the process of your creation? The things I care about are always "people", and I feel that everyone's eyes are living in different colors. Color is a symbol of emotion for me, a change. I always feel that I need to study the differences between different colors to make them more capable. But recently, I was also interested in the colorless black and white. The picture of removing the color is also a more pure face to me, a kind of precipitation. The "people" I paint are all the same. I think that I am painting the human soul. In fact, there are many common essences. In addition, it is also full of "lost love" (laughs), so this is a frequently occurring theme. Losing love makes me think about how to have it. "Emotions" have always been abstract to me, so I often feel that I have not lost or owned. Everything is just a process of constant change. In the process of creation, it is also important to decide when to "stop" and make it a "work". Often I don't know how to complete it. In fact, this is also a choice; sometimes I suddenly want to cut down the re-training and pour the paint down the picture. In fact, think about it is still like this (laugh), but sometimes it will regret it - just like life makes choices, there are often things in life that you want to regret. I have to always convince myself that nothing can disappear. If it is important and valuable, it will still appear. When the state is good, I will be satisfied with it, and I will be in place, but I have not met a point for three weeks. At this time, even if you want to work hard, but in fact, there will be no good results, you can only go back and return, and it seems that the work is also a fate. I used to want to make a frame at first, and the completely blank frame is as simple as a master. However, I found that what happened was not right. I felt that the artist should face himself in good faith, express the scope and things that he can handle, and then start to draw his own thoughts and troubles. . Please talk about life in Taipei and living in the village in New York. I like walking very much, all in the city. Walking within a dozen kilometers in New York, usually looking for coffee. I will deliberately go far to buy coffee, then I will look at passers-by and like to see them dry. According to my observations, New York compares that everyone is doing their own thing, and it is very compact when rushing and rushing; while Taipei is more reserved, everyone is not very likely to show or tell what they are thinking. For example, viewers who come to see the exhibition in New York prefer to ask questions. Taipei people may have psychological ideas, but they dare not ask you. But some New Yorkers are very American, and praise your work may not have much sincerity (laughs). After going to New York and back to Taipei, I have a deeper understanding that "people" are really hundreds of kinds. Before I went there, I just had a very cool impression of New York. But after I finished, I found out that it was not a cool or not problem. Everyone was living. When I come back, I think more often. What is the "artist"? I personally think that the artist seems to be a kind of "identity" - it is not necessarily related to his own creation, but also becomes a kind of label and social identity. Like in Taiwan, everyone will always ask you how you can support yourself, or some people will think that the artist's life is very different. But in fact, my own experience is that an artist can even be said to be full of boring. I usually spend a lot of time researching and creating, so I don't think it's as cool as it seems. Investing in art creation really needs to be very focused, don't think about it, so that the things that are expressed will be sincere, pure, seemingly simple things are actually difficult! Focusing is a beautiful thing for me. When I was walking around the island, I saw someone farming, and slowly transplanting it. That made me feel that when people concentrate on doing one thing, it looks very beautiful. . . Talk to us about this exhibition. Why is this exhibition named "We"? In fact, I have been thinking for a long time, in the end, "In the character of" how to translate the English sentence (I translated: in such a character). In fact, what I want to explore is the relationship between "I" and "they". "I" is more unique and individual, but "they" represent a common point. I feel that it is very difficult for me to really know myself. I always need to trigger ideas through other things, such as the opinions of others. But sometimes I feel that because of this, I am a very easy person to be convinced. This exhibition actually wants to distinguish four different personalities: in the outermost ones, like traditional galleries, the walls are white, and the second one is to create the feeling of the studio and show the process of creation; The three rooms are conference rooms for discussion. The texts on display are expected to be readable by the audience, and can even be reviewed at will. The fourth one is more like a personal study. I actually put a small piece of work on it, based on recent events. The creations, including wars, natural disasters, etc., but with my style of writing, seem to have never been discovered, in fact, we have received a lot of negative messages every day. This large piece on the wall is actually a five-year creative project. I often post things and finish them, but it is like many things in life come and go, but in fact, they still leave some traces, shaping your thoughts and attitudes. I also plan to continue to travel with this piece in the future, hoping that he can become a complete work after five years. . How does the audience interpret your work? Did you have any impressive reactions during the exhibition? The audience who came to see the exhibition really found something about themselves. As for the "understanding" of art, I also felt that I didn't need to rely too much on explanations and guides. The Taiwanese audience seems to be too afraid that they have no idea, they have not caught anything, and they want to have a basis to follow. What impressed me is that a famous audience came to see the exhibition and felt that my work was full of personal style. Then he quit his own work and wanted to give himself time to do it himself. Some hair stylists came to see the exhibition. Want to cooperate, is the Flux hair salon in the Eastern District, their company is also very interested in art creation, there is also a small exhibition space in the store. However, some people have questioned whether I can make such a work, can I be called a contemporary artist, and he thinks that such a work will not enter the art gallery. Even in New York, I have been working on my own exhibitions, but if my audience can watch them and see what he has seen, I feel like I have secretly planted seeds and let some new ideas have a chance to sprout. . Mom and Dad also came to see the exhibition. Dad thought that cutting his own painting was very different and very interesting, but he still felt that I would not paint and told me to cheer (laugh). He always hopes that I can practice drawing more, I think I can try it, but I also worry that it will affect my original brush strokes. I feel that I can be free at the end of the exhibition and I can do the next thing. I feel that I need to go through some different things, so that the thickness of the work can be strengthened. I also want to try in the direction of motion pictures, and I want to make huge devices so that everyone can walk in and interact. The space for this exhibition, "Huabao," is the name of the coffee shop that parents used to operate near the National Taiwan Normal University. It hopes to bring some new possibilities to Taipei. I hope that artists can exhibit, and they are experimentally groping from 0 to 1. If one day becomes 1, maybe you can go out to a more formal contemporary art hall, and welcome everyone to come. Come sit and have a cup of coffee. Canvas Huaboo 2nd Floor, No. 166, Siwei Road, Daan District, Taipei T: 0919-274-179 For more information, please visit the canvas Huaboo...

Fashion flip modern dance: costume designer Hussein Chalayan's first dance "Gravity Fatigue"

There are two different types of dance and fashion, which are inseparable from the human body. The crossover of the fashion designer and the dance performance, or the crossover of the dance on the runway to help the catwalk show are all combinations of the present. Show way. London's Sadler's Wells, known as the British Modern Dance Hall, broke through everyone's imagination in the fall and winter of 2015, launching the first dance work Gravity Fatigue (gravity fatigue) by costume designer Hussein Chalayan. Always with a highly experimental concept, combined with clothing materials and high-tech Hussein Chalayan, its avant-garde fashion show often implies performance art in costumes, allowing viewers to recognize clothing from different angles and to tell the beauty of the appearance. story. "Usually, fashion designers just design clothing as a foil for dance movements," Chalayan explained. "But in this performance, I am the leading screenwriter." Chalayan also collaborated with the Belgian choreographer Damien Jalet. Jalet also said to the cooperation process: "This is definitely a big challenge, flipping the relationship between clothing and dance. And I said to myself, I must do something exactly the opposite. I also worked with fashion designers. They have worked together because I like to talk to clothing, and clothing has changed our perception of the body.” Chalayan added: “After I presented Jalet with the idea of ​​clothing, many sections, steps and actions were formed. The dancers need to cooperate with my costumes, and it is also the first time that the costume design is in the dance performance, and the anti-customer is the main presentation.” By reshaping his past experience and memory, Chalayan deconstructed the costume design and body language in Gravity Fatigue. The vocabulary, recombination, and structure of different dance performances. In the pre-performance interview, Chalayan mentioned that his earliest exposure to dance came from his father, who often held social dance gatherings at home—for the males of the Middle Eastern social atmosphere, this was the performance of the current edgy. The entire work of Gravity Fatigue consists of 18 chapter passages, each with its own name, the passage named <The Arrival of Departure> (the arrival of departure), Chalayan explains: "The arrival of departure" source The experience of moving in my growth, I was traveling between Cyprus and London. This paragraph wanted to interpret the gap between "arrival" and "departure", and whether to go to a place or from a place. The feeling of leaving the place." This depicts the state of "In Between", which is about the real world of Chalayan. "I have always been interested in exploring things related to displacement, personal identity and urban life. "The Arrival of Departure" (the arrival of the departure) stage scene is an aircraft component, and the original three dancers in a plain suit keep spinning and dancing, and then more and more dancers who look like travelers Join, and finally everyone will reverse the suit, revealing the opposite side of the interior with sequins. Jalet also stated: "We tried to use Chalayn's two-shirt design until we found out that the clothing can also become an opportunity for limb changes, and it feels like the dancers are suddenly moved by the change of the jacket." In the paragraph of Presence, the dancers removed the paper skirt with the envelopes and stripes on the cardboard and put it on. It is like a modern person who often travels by plane. It is like air mail, from one place to another. The ground is passed on. In an uninterrupted two-hour performance, dancers extend the body language to the stage in an imaginative tailoring and material application, beautiful yet dramatic. The stage design changes the scene quickly, and combines light and shadow and projection in the real scene to create an illusion of virtual reality. The background music is laid out by dynamic electronic sounds. The Turkish songs recorded by Chalayan's mother are also in the middle. The sound is used as another layer of sensory experience, which makes a more complete interpretation of the performance. ...

出自台灣連結國際,專注時尚與個人質感經營:Ne.Sense 專訪

From Taiwan Link International, focus on fashion and personal texture management: Interview with Ne.Sense

At this time a year ago, Ne.Sense, a fashion boutique concept store, appeared on the streets of Xinyi District in Taipei. With a simple and uninterrupted wearing philosophy, it introduced a variety of high-end textures and simple street wear. A team of three brothers, Ne.Sense is committed to bringing ideas from around the world back to Taiwan, hoping to inspire creative reforms in Taiwan, inspiring more Taiwanese to explore aesthetics, design and art, and to feel these wonderful things with heart. To improve the quality of life and enrich the soul. The store's interior space is made of various recycled wood, iron, specially treated curtains, brick walls, and cement. Through the projection of the light, it creates a charming and simple but unduly texture and industrial style experience, and has won the German 2015. The iF DESIGN AWARD 2015 Design Awards Interior Design Project and the Red Dot Award 2015 Red Dot Awards Merit Awards show that Ne.Sense has continued to receive international attention since its inception. Ne.Sense Interior Image Courtesy of Ne.Sense Ne.Sense Interior Image Courtesy of Ne.Sense This time, the first anniversary of the opening of the store in Taipei, from the fashion to the "people-oriented" discussion, Ne.Sense back to the farmers and the image of the rice Launched a fashion art exhibition with the theme "No Free Lunch" (no free lunch). The theme comes from the phrase "There is no white lunch in the world" taught by young parents. It also reminds them of a series of "peasants" who work hard, "workers" who work hard, and furniture that represents "home". The story of the police shield and green flowers, the broken concrete wall and the antique old TV, together with the ice-blocking device of the "Drinking Water Source", the pure drip is conveyed by the symbol of the secular ink. Simple, and the process of progress and development is opposed to the helplessness of the outside world. When I came to the exhibition, I had the opportunity to chat with Michael F. Hsieh, founder of Ne.Sense. I also felt that I was wearing a costume and looking for my own style of entertainment, as well as the anecdotes of my own store. The Ne.Sense team is committed to developing a serious attitude towards Taiwanese customers. ...

The technological innovation of human and design leadership: Airbnb headquarters direct attack!

Airbnb, the self-propelled leasing platform that was founded in 2008 and has risen in recent years, is because of the uniqueness of its platform, so that you can plan to travel abroad, not only facing the boring standard of hotel decoration, but also Carry out the spirit of bravery and end to a stranger's house for one night! Interestingly, compared to other Silicon Valley technology entrepreneurs, Airbnb's two founders, Brian Chesky and Joe Gebbia, graduated from the famous Rhode Island School of Art and Design (RISD) in the United States, not from the background of information engineering. The founder of the design, let Airbnb pay more attention to the aesthetic and visual image design than other technology startups. Airbnb's San Francisco headquarters, located at 888 Brannan St, is located in the SOMA area (the South of Market, a famous technology company in San Francisco, including companies such as Pinterest), a 100-year-old warehouse renovation A new space. The founders believe that the office environment should reflect the spirit of the company. How can the company's environment be as casual, warm and full of surprises as the various homes registered on Airbnb? Fortunately, I had the opportunity to travel to Airbnb headquarters under the leadership of an excellent US-based engineer who is currently working at Airbnb. The impression after visiting the whole building is that it really seems to travel around the world and visit a huge Ikea! The headquarters itself is divided into different themes in each country, and each corner and every meeting room is also restored to the headquarters space according to the interior decoration of the Airbnb house in the world. People can't help! These seem to be the space of other people's living room and living room, don't doubt, it is a conference room and office space! There are even employees who are whimsical, in the personal workspace designed by themselves, some have a ball pool, and even a Hello Kitty birthday party theme! Employees can walk around with the laptop in the company, and can meet in a living room, or in a relatively small private space. Looking around, it is like browsing a variety of room information on the Airbnb website, successfully implementing the spatial image of the digital webpage into the real space of the entity. It is worth mentioning that one of the conference rooms called Rausch is one of the founders of the restoration...