成就過去所不能為:倫敦聖馬丁服裝設計系首獎得主胡乘祥專訪

Achievements can't be done in the past: An interview with Hu Chengxiang, the first prize winner of the St. Martin Fashion Design Department in London

This year, in the graduating class of the Department of Fashion Design at the University of St. Martin in London, there was a low-key first prize winner, Jim Chen-Hsiang Hu from Kaohsiung, Taiwan. Different from many fashion designers in their personal style and popular culture perspective, Hu Chengxiang believes that the mainstream clothing industry for him, just reuse the existing design elements, too nostalgic and narrow. Entering the clothing design department, in the face of current consumerism and the low-quality fashion value system, his question is: What can a piece of clothing represent? What new possibilities can be found through design? What is the contemporary nature of itself? Adhering to the deep thinking and high consciousness of things, Hu Chengxiang finally conducted a deep confrontation between himself and the outside world through amazing graduation production. "Tea" (XI) Photos Courtesy of Mick Abela & Jim Chen-Hsiang Hu has a nuclear energy engineer's father. He has been raised by many popular science books and magazines since childhood, and he has always been a great scientist. The attraction is always filled with a lot of cool things. When I was young, I thought about becoming a scientist who can make all kinds of things. Such a worldview can be deeply felt in his rigorous design and production methods, such as scientific experiments, as well as in the logical inferences of creative ideas. The two seemingly conflicting things of creative thinking and rigorous thinking, but also in Hu Chengxiang's works, can see the different possibilities that can be produced during the rendezvous. The Turning Project Images Courtesy of Jim Chen-Hsiang Hu The eye-catching three-dimensional structure of his graduation work is derived from his first year of St. Martin's "Driving Project" (The Turning Project) homework. Through that assignment, Hu Xingxiang tried to explore the causes and consequences of constructing the world's human affairs; and he also believed that modern people rarely think about how things around them evolved into what they are today, and only accept what they can perceive. Representation. Hu Xingxiang interprets the line and fiber as the particles and structure of the clothes. The wire mesh forms the mesh of the body. The shaped wire presents a confusing texture, symbolizing the existence of the object, but not directly through the senses. In order to expand and transcend the imagination of the self and the external material world. The Turning Project Photos Courtesy of Jim Chen-Hsiang Hu The sample of the work that was completed at that time was put on hold in the Hu Chengxiang room, and he began to think about it if he was so unclear. Surrounded, it will break the boundaries between the clothing itself and the outside, and produce unexpected visual impact. In order to make the previously shaped wire into a more varied structure, he refined the way in the design process and developed a "3D Weaving" technology system. The technology, called "X" (XI), has a certain connection with the "system" that makes up the fibers or wires in the fabric elements - a system of fibers or wires can be seen as a garment. The English translation of "XI" also means "X", which represents the two-dimensional image of fabrics and fabrics. The "I" is the symbol of Hu Chengxiang's own "textile". The other dimension of the production tradition is added. In Hu Chengxiang's graduation work, a three-dimensional grid that looks like a light and full of fluidity is created by "X" (XI). It extends from the model and the unclear boundary line touches our inner perceptions. In turn, it has shaken the specific cognition of itself and the surrounding, and has inspired a curious and imaginative "unknown field". At the same time, it also reflects the vitality that lies in the body and the visual image that emerges. "Case" (XI) Photos Courtesy of 1 Granary When it comes to "3D Weaving", it is also reminiscent of the popular "3D printing" (3D...

Between the sensory boundaries of the virtual and the staggered: NONOTAK sound and light device

The uninterrupted flow of light and shadow, the cold sound of electronic sound and the irritating rhythm of noise; the same is the light and sound of the body. Through the operation of NONOTAK STUDIO, the light becomes the building material that cuts the space, and the sound becomes invisible. decoration. The multimedia creation portfolio NONOTAK is composed of artist Noemie Shipfer and Takami Nakamoto, an architect and music creator. In 2011, NONOTAK created their own rhythms and images with invisible ring sounds and light changes across the field. Full of high-density, three-dimensional sound and visual information, people enjoy the strong worldview presented by NONOTAK. Sound and light flow everywhere, and the relationship between the two and the space allows the audience to enter a "stream of consciousness" that transcends the entity. Although the sound is abstract, there is no physical sound point, but it is the medium that can't resist and filter. Even if the eyes are closed and placed in the field of Liao, the energy of each sound point still touches the senses of the body. NONOTAK combines light waves with sound waves, and keeps the nerves tight. With the uninterrupted wavelengths, the sensory impact wakes up the consciousness of sleeping at the bottom, and the comprehensive immersive performance mode allows the audience to be passive again – you can’t restrain, The body and limbs are triggered like electric shocks and forced to interact with the work. They made their debut performance at the Tate Britan in London in June, "HORIZON" (boundary line). Two rows of staggered lamp installations, Noemie Shipfer and Nakamoto Takami were among the live performances of the controller. The rhythmic bass lacks melody but is very wrap-around, making it seem to enter another space, the entire 30-minute performance, simple but yet powerful and infectious, ending at the same time both music and lighting At that moment, the audience under the scene seemed to return to the real space as if the dream was awakened. NONOTAK's "HORIZON" performance at Tate Britan: In the biennial exhibition organized by the Dutch art and technology organization STRP in March this year, they can also see their latest sound visual installation "PARALLELS" (parallel). In this work, the audience can also create irregular shadows by traversing the neat beam of the projected projection, affecting and distorting the concept of space constructed by light and shadow. "PARALLELS" (parallel) was exhibited at this year's STRP Biennale in the Netherlands: The new work "Silver" (SILHOUETTES 1×1) was based on the interaction of space and light: point links Lines, lines become curves, directions and trajectories leave their own traces, space becomes direction, and moves with the rhythm of music. Although space is not vacuum, but under the shadow of light, space seems to have a form of figuration, and random flow and deformation, but also reinterpreted our sensory perception of space. NONOTAK - "SILHOUETTES...