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ISSUE 33 August 2017

A bi-lingual and bi-monthly independent magazine aimed at bringing works of the young and talented to the world.


A WORD FROM US..

Bringing you two talented designers from Poland and South Korea, the theme this issue is Industrial Design! With heavy focus on furniture, we dive into the aesthetics and functional approaches of these designers and their worlds. Their unique and creative style will surely pique your interest with their stories and experiences based on the surrounding beauty of design. David, for the first time, writes a review on a Hong Kong classic movie called “Hardboiled” which portrays intensive action during the legendary period of Hong Kong movies. He also critiques “Ip Man” which conveys the life of a heroic kung fu fighter during the war period. Both action movies will give you a little taste of the local cinematic scene. Last but not least, a very happy reading!

我們有話兒..

第 33期的 Garde Magazine主 題為工業設計並為您帶 來兩位分別來自波蘭和 南韓的設計師! 集中圍繞家具設計,我 們深入探討美學和功能 對於設計師的重要性。 他們的創意風格絕對會 引起您的興趣之餘更讓 您留意身邊一事一物的 設計美學。 影評人大衛首次為香港 電影撰寫影評,他所選 的電影是吳宇森導演的 《辣手神探》和葉偉信 導演的《葉問》。兩部 動作電影必定能夠刷新 您對香港電影的了解。 一如以往的,祝各位閱 讀愉快!


An independent magazine aimed at bringing the works of the young and talented to the whole world. Believing in ideas, thoughts and concepts, Garde Magazine follows the principle of simplicity and honesty.

FOUNDERS Cleo Tse cleo.tse@gardemagazine.com

Natasha Chan natasha.chan@gardemagazine.com

CREATORS Kornelia Kulik Yougnmin Kang

CONTRIBUTORS David Madsen david.madsen@gardemagazine.com

Kalle Östgård Shaleihin Pi’ee


Kornelia Kulik Industrial Design The coexistence of aesthetics and functionality

Youngmin Kang Industrial Design Improvements with no limitations

David Madsen Hong Kong Action Movies Movie Review: Hard Boiled and Ip Man

CONTENT


Kornelia kulik industrial design

工業設計 The coexistence of aesthetics and functionality 美學與設計的並存


Currently living in London, Kornelia Kulik is a young designer who has already obtained years of experience in her work. She is passionate in design and exudes maturity. “My mantra is ‘less is more’ by Mies van der Rohe and ‘form follows function’ by Louis Sullivan,” she says. Growing up in Poland, Kornelia highlights that she received education in two cities – Zamość and Łódź, the former more on the renaissance spectrum and the latter post-industrial. “Life in these cities surely has an influence in shaping my point of view and inspiring my creativity. In Zamość, I went to high school and attended consultation on painting while in Łódź I attended The Strzemiński Academy of Fine Arts,” says Kornelia. Before the calling of industrial and product design, Kornelia tended to express her creativity in the form of painting. When she was young, she told herself that she would be a painter. Along the way she realised something was “not enough.”

即便還很年輕,現在居住於倫敦的Kornelia Kulik已經擁有好些年的 設計經驗。她對於設計充滿熱誠亦同樣有著成熟的視野。「我的 宗旨是來自著名建築師密斯•凡德羅的『less is more(以少為多) 』和路易•蘇利文的『forms follows function(形隨機能)』。」 在波蘭長大的Kornelia多次強調她曾在扎莫希奇和羅茨上學 – 前 者為她帶來文藝復興的知識;後者則是後工業時期的眼光。 Kornelia說:「在這兩個城市生活對啟發我的創意和塑造我的視角

很有影響。我在扎莫希奇唸高中並學習繪畫;在羅茨,我在史特 思明史奇藝術學院學習。」 在受到工業和產品設計的「感召」之前,Kornelia本想以繪畫表達 自己的創意並以其為業,她年輕的時候亦矢志成為畫家 – 直到 她發現繪畫還是有些「不足夠」。

Kornelia Kulik - Wave


“I wanted to create something helpful and useful for others. The study of industrial design showed me unrestricted possibilities of creating things and objects.” Kornelia decided to focus on this subject and since then has been training her observation skills as she thinks the biggest daily problem of design is that the proportion between the quantity of designed products and their usefulness is imbalanced. This often leads to people losing sense of what they really need, she says. Combining her skills in painting and design, she started being more sensitive towards aesthetics and beauty from painting and highlighted practical approaches towards different objects. “Paying attention to the surroundings, trying out new things and searching for a new point of view – these actions built my database.”

「我想創作一些對其他人有用又能解決問題的東西。 工業設計讓我看見了完全不受限制的創意。」 Kornelia 自此專心研讀工業設計並訓練自己的觀察能

力。她認為日常生活中遇到最大的設計難題就是大量 被設計的物件和它們的實際用途完全失衡,導致人們 對於自己真正需要的物件已經毫無感覺。 在繪畫和設計當中,她從前者訓練了自己對於「美」 的觸覺並利用後者的知識學習著重物件的實用性。「 對於身邊事物多加留意、嘗試新的事物並搜尋新的觀 點 – 這些練習都讓我豐富起來。」


Kornelia Kulik - Wave


Among her various projects, she is most satisfied with her MA diploma project “NOM + ADD Furniture System Project for the Modern Nomad.” “I was fully dedicated to this project and have put a lot of work and time to become nuanced in every aspect. I wanted to create a concept of furniture that would improve the living of users for whom I have dedicated the project to. The project was a great success and attracted a lot of interest in exhibitions,” explains Kornelia. Her design style is simple and functional in which she tries to emphasise the beauty of form without unnecessary ornaments but instead the true beauty of materials. Most importantly she says, the design has to be pleasant to the eye. During her design process, Kornelia starts with research, which is not only based on the given project but also for inspiration. This is followed by some sketching where she uses paper and computer to picture the most accurate thoughts she has in mind. “Sometimes my initial assumptions change during work in the programme since I am dealing with a complete solid materials, so sometimes I have to compromise.”

在 Kornelia 的芸芸項目當中,她最喜歡自己碩士文憑課程的作業 《NOM + ADD 現代流浪者的家具系統》。 Kornelia解釋道:「我對這個項目完全投入,投放了很多時間和精

神並讓自己對各方面的細節充分注意。我想創作一個全新的家具 概念並提升項目受眾的生活水平,結果它非常成功並在展覽當中 擄獲很多人的目光。」 她的設計風格簡單而實用,同時強調「形」的美,撇除累贅的設 計之餘突顯設計媒體本身的特質。更重要的是,設計本身必須賞 心悅目。 在設計過程當中,Kornelia會先做資料搜集 - 這個過程不單止讓她 了解到項目本身,更能搜集靈感。下一步是做草圖,她會先用紙 再用電腦將最完整的構思描繪下來。「有時候我最初的構想需要 在過程中不斷修改,因為我是在以硬性的媒體去設計,所以有些 想法也不能夠太天馬行空。」

Kornelia Kulik - NOM+ADD


Kornelia owes her work ethic to her past experiences in Poland. “Studying in Łódź was a long adventure for me,” she says. “Artists, individualists who saw the world differently, surrounded me and they have taught me a lot. We can’t design ‘designer’s rubbish;’ everything being designed has to bear something new and innovative. Without it, it is not design,” expressed Kornelia. Product design is a process of object creation and implementation. Design has to go a long way from an idea to execution and bear in mind what is best for the recipient and consumers. The subject shapes the look of the future. “I am currently working on my entry for the design contest ‘Patterns of Europe.’ The aim is to design urban furniture relating to the city of Lublin - the organiser’s folks and modern traditions.” Kornelia ends with a whisper of her aspirations: “I hope to build my own recognisable brand of design in five years. That would be great! I want to do design wisely, humanly and leave something behind.”

「對我來說,在羅茨學習就像是一次長途的冒險。我遇見很多藝 術家和思想獨立的人都讓我獲益良多。我們不能設計『設計師的 垃圾』,所有被設計的東西都必須包含創新的元素。沒有那種元 素,根本不能稱之為設計。」 產品設計也是物件創造和實用的過程。設計從點子到實行之間有 一條很長的路,設計師必須無時無刻都想著對於受眾對好的做法 – 創造之物同時塑造了未來的可能性。 「我現在正一頭埋在我想用以參加設計比賽『Patterns of Europe』 的項目上面。那是一個以盧布林市的人們和現代傳統為核心來設 計家具的比賽。」 Kornelia最後總結說:「我希望我可以在五年之內創立自己的品牌

並獲得讚賞 – 那該有多好!我同時希望創作更多有用並讓人們 生活變得更好的設計。」

Kornelia Kulik - NOM+ADD


Youngmin Kang industrial design

工業設計 Improvements with no limitations 進步無極限


Industrial design is meant for solving daily problems that human beings encounter in their lives. Youngmin Kang is a good model of such definition. He likes to look at phenomena which people take for granted. “Like Newton discovered the law of gravitation by looking at apples falling down, I usually take concepts from small acts in everyday life,” he says. “I think industrial design is thinking about how to reflect our present era into goods or the environment and also showing our future generation.” Youngmin went through an unusual process of realising what he wanted to do in life. “There was once I disassembled my stag beetle when it died because I was so curious about its anatomic structure. My parents who saw the ‘crime scene’ were shocked and took me to see a psychologist.”

工業設計的意義是為了解決人類在日常生 活中遇到的問題 – Youngmin Kang為此定義 做了很好的詮釋,因為他很喜歡留意人們 習以為常亦不會多加留意的日常習慣。 Youngmin說:「就像牛頓透過觀察蘋果墜落

而發現萬有引力,我喜歡從每日的生活中 的微小動作攝取不同的概念養分。我認為 工業設計是透過不同產物或環境去表達現 在和未來的可能性。」 在他認定工業設計為自己的未來之前,他 經歷了一個不簡單的過程。「有一次我在 我的鍬甲死了之後將它解剖,因為我實在 很好奇它的構造。我的父母看見整個『犯 案現場』之後震驚了並帶我去看心理醫 生。」

Youngmin Kang - ODDLY Bookshelf The Oddly Bookshelf consists of basic molding elements such as solid, line, and surface. The reason for using the basic molding is a shape of books: a cuboid. The book takes the shape of a geometric figure itself, a cube that can be found easily in everyday life.


From his parents’ point of view, Youngmin’s behavior was weird until meeting his art teacher in high school. Since then they have been supportive of his creativity and allowed Youngmin to have fun in the subject. While everyone is considering the Internet and smartphone as two of the best inventions of the 21st century, Youngmin treats them as one of the biggest daily-life problem humans are facing. “It does not mean that technological development and such situations are wrong. There are problems such as disconnection of conversation between people, uniformity of leisure time and increased traffic accidents with no solution. Shouldn’t it be our responsibility to solve those problems derived from the ‘inventions’?” Youngmin obviously has a mission in mind to contribute his creativity and skills towards society. His thought process is thoroughly self-reflective and will take an unexpected amount of time. Most importantly – it involves self-denial.

從他父母的角度來,Youngmin的行為非常奇怪。直至他們和他高 中的美術老師會面才知道了真正的原因。自此之後父母非常支持 Youngmin的創意並讓他在科目中尋找樂趣。 正當人們都認為互聯網和智慧型手機是二十一世紀最偉大發明的 時候,Youngmin確認為它們是現代生活人類所面對最大的問題。 「科技的發展和現在的使用情況不是不好,但是現在確實有不同 的問題出現了:比如是人們的溝通不再是面對面、空餘時間一式 一樣的娛樂和由於使用手機而上升的交通意外等都沒有解決方 法。難道我們的責任不包括解決問題嗎?」 Youngmin在心中有一份責任感,希望為社會貢獻自己的創意和技

能。他的思考過程完全自省並願意付出大量時間,更重要的是 – 它包含自我否定。

Kornelia Kulik - NOM+ADD


“When I work, I avoid getting results directly without going through a series of processes and verification that I pursue. Sometimes an idea intimately comes to my mind with the outcome for no reason – this is the most difficult time because I have a feeling that the first thing that comes to my mind is suppressing the development of my unconstrained thought.” And this is not an assumption but actual practice proven through Youngmin’s principle. He has gone through a hard lesson to learn the importance of verification of thought process. “One day I happened to design an object I have never used and I thought the result was satisfactory. But people who were actually using it didn’t need my design at all. That was a big shock to me because my work was unnecessary no matter how I tried. Since then, I have done a lot of experiments on each of my projects. I first started with asking the ‘why’ question then reinterpreting the particular phenomenon that I am questioning.”

「當我工作的時候,我盡量避免使用完全不經過思考 的念頭,所有想法必須經過驗證。有時候有靈感甚至 設計方法跳進我腦袋的時候,那是我最艱難的一刻 – 因為我覺得這樣的點子會阻礙我創意的發展空間。」 而這並不是Youngmin的想像 – 他透過實際經驗並學了 深刻的一課才知道驗證的重要性。 「有一天我要設計一樣我從來沒用過的物件。我自己 覺得結果還挺滿意的,但是當人們試用的時候發現我 的設計完全沒用。這對我來說非常打擊,因為我發現 了不論我再怎麼嘗試,那個設計就是沒用。從此我的 每個項目都會做很多實驗。我會先質問『為什麼』並 重新理解我在質疑的現象。」

Youngmin Kang - Faber-Modern Stoneware


Youngmin Kang - Faber-Modern Stoneware In prehistoric time, natural objects, such as leaves, bones, stones, and claws of animal, would have been used without any particular process. Over time, human have gradually made more sophisticated tools and finally they started to look like we see today. In this respect, most of the artificial tools have been inspired by the nature. So the initial process of my project was to make some tool forms similar to the natural things.


Among all his creations, Youngmin likes “Faber-Modern Stoneware” the best. It is about discovering naturally or primitively shaped objects’ purposes and discovering that it is often the case that they are not what they seem to be. “I worked on it myself with own ideas and judgment without any help. When I was a student, everyone was happy to help. While I was on my own in this project, I still received support.” When Youngmin was in school, he learnt that talking with friends, discussing and making reports of good work could help solve problems. He hence developed his style in two layers – the inner style reflects thoughts behind each project while the superficial style is what people can see and perceive by looking at them. “I have dream projects yet I may not deserve them now. I hope to collaborate with designers all over the world and share ideas around. I hope I can be a recognised designer in five years and people can appreciate, remember and respect my designs and even be inspired.”

在他數個設計當中,他最喜歡《 Faber-Modern Stoneware 》。這個項目旨在重新發現物件原型 並加以不同功能。「整個項目我都是一一己之 力完成的。但我是個學生的時候,每個人都很 樂於幫助但是當我自己完成的時候滿足感非常 大,每個人都很支持我。」 Youngmin在學校的時候,他透過跟朋友討論、聊

天和分析好設計來學習解決問題。他自此給自 己發展了兩個層面的風格 – 反映項目背後真意 的內在風格和人們一眼看見並能夠理解和接受 的外在風格。 「我認為我現在還不夠格做我的夢想項目。我 希望可以跟世界上不同的設計師一同合作並分 享理念。我希望我可以在五年時間之內被認同 而人們亦會欣賞、記得、甚至尊重我的創作; 我也希望我的創作可以啟發別人。」


HONG KONG ACTION FILMS 香港動作電影 by david madsen

In the West, Hong Kong action cinema is mostly known from modern films such as Ang Lee’s wire-fuelled fantastical melodrama ‘Crouching Tiger, Hidden Dragon’ and a few highly notable directors and actors who have migrated to Hollywood either for a time or indefinitely. In this article I will explore the two Hong Kong films ‘Hardboiled’ and ‘Ip Man’ which respectively stars Chow Yun-Fat and Donnie Yen.

如果在西方提及香港動作電影,首先被聯想到的肯定是導演李 安充滿各種鋼線的電影《臥虎藏龍》和數位已經長期或短期移 居至荷李活的演員和導演。在這文章中,我將探討由周潤發主 演的《辣手神探》和甄子丹主演的《葉問》。

Ip Man (2008), Mandarin Films. Directed by Wilson Yip. Mtime.cn Hard Boiled (1992), Golden Princess Film Production Directed by John Woo. Filmonpaper.com


HARDBOILED《辣手神探》 (1992) Rating ****** Early on, in fact in the very first action set piece of ‘Hardboiled’ Chow YunFat’s character, Inspector Tequila, is hot on the heels of triad gun smugglers, who indiscriminately shoot their way down a stairwell through a panicked crowd. As he barely dodges the incoming fire, Tequila jumps on the stairwell’s railing and, as he slides down, proceeds to pump the baffled criminals full of lead with a loaded .45 in each hand. This, ladies and gentlemen, is the epitome of cool. It is the crème de la crème of what the action genre can possibly offer distilled to its purest form. Even if you’ve never even heard of the film’s director, John Woo, or the Hong Kong film industry in general, you know what this scene looks like. It will forever be engrained in our shared pool of pop culture knowledge. And yet, it’s not even the climax of that particular action scene. Instead, the film just keeps escalating from the aforementioned firefight in a crowded downtown restaurant, ending in a viscous massacre at a major hospital.

在電影裡面讓周潤發的角色警探Tequila出現不久之後就立即 緊隨著偷運槍支的黑社會為了逃生而在人群裡樓梯間胡亂開槍 的動作場面。Tequila並沒有閃身躲避黑社會的火力之餘並跳 上了樓梯扶手順勢滑下雙手各持一支滿彈的點四五手槍。 各位先生女士,這就叫做「型」了。這個場面無疑是讓動作電 影錦上添花並提供了最純粹最高級的表現。即使您從來沒有聽 過「吳宇森」這位導演的名字甚或至香港的電影工業,您總能 夠想像這場面的景象 – 這場面已經深深的烙印在所有人對流 行文化的共同回憶中。但這精彩的一幕亦不是電影的高潮,相 對的這套電影在不斷地向上推進,由人滿為患的街邊餐廳前進 之大醫院裡面的屠殺。

Hard Boiled (1992), Golden Princess Film Production. Directed by John Woo. Wordpress.com


整場幾乎有半個小時長的完結就像是與死亡共舞的一 場表演:周潤發和由梁朝偉飾演的拍檔Alan在醫院拼 命忍痛拯救嬰兒和殺盡黑社會打手。特別艱難的一幕 是吳導演將整個過程五分鐘毫無剪接拍下兩人在醫院 走廊不斷進出之餘並打倒壞人。 《辣手神探》的極致精彩遊走於角色誇演和認真之 間。在永遠迷人的周潤發的出演之下,電影充滿劇情 又帶點不通理的安排在無盡的彈藥、壞人和爆破場面 下均已消散 – 這套電影肯定是視覺和聽覺的奢華享 受。

Hard Boiled (1992), Golden Princess Film Production. Directed by John Woo. Tmdb.org


This almost half-an-hour ending sequence is like a gruesome ballet with Death itself as both Chow and Tony Leung, who plays his put-upon partner, Alan, does their damndest to look as stoic and righteous as possible while saving infant babies, murdering dozens of triad henchmen and decimating the entire hospital all in the name of justice and honour. In an especially impressive display of visual trickery, Woo keeps the camera on the action for an entire five minutes without cutting once, as the two men murder bad guys, who swarm in and out of corridors. Like the best of its kind, Hardboiled ultimately walks a ridiculously thin line between self parody and taking itself way too seriously. With its colourful cast of characters headed by the always charismatic Chow, its melodramatic, vaguely nonsensical plot which flies out the window as soon as the third act knocks on the door and a seemingly endless supply of limitless ammo cases, bad guys and exploding squibs, Hardboiled is a feast for both the eyes and the ears.


IP MAN 《葉問》 (2008) Rating ***** ‘Ip Man’ is a kung-fu film, directed by Wilson Yip. As the name suggests, the film is about the martial-arts scholar, Ip Man, who famously challenged and defeated a Japanese general in a kung-fu tournament under their occupation of China from 1937-1945. Playing the part of Ip Man is Donnie Chen, one of the 21st century’s more prominent martial-arts action stars. Outside of a few B-action movies where he has been the leading man, his roles in Hollywood have however mostly consisted of bit characters such as the blind Jedi, Chirrut, in ‘Rogue One: A Star Wars Story.’ However, after watching ‘Ip Man’ it is all too clear that Donnie Yen is an actor who commands the screen from the second he enters the fray. His calm, sympathetic demeanor combined with a steely-eyed gaze constantly keeps the audience in anticipation of what this master of martial-arts is going to do next.

一如名字所言,由葉偉信導演的電影《葉問》關於功夫宗師葉 問於日本侵華(1937至1945年)期間挑戰並擊敗日軍將軍的 電影。 由二十一世紀最著名的其中一位武打巨星甄子丹飾演葉問, 他的履歷上除了好幾套B級電影中擔綱演出之外,同時包括荷 李活電影《星球大戰外傳:俠盜一號》盲眼的絕地武士之一 Chirrut。 可惜這部電影由甄子丹出場開始就是一條故事線,所有情節都 非常直接。 他的冷靜及同情加上堅定的眼神令觀眾就算不用 看下去都知道劇情會怎樣發展。

Ip Man (2008), Mandarin Films. Directed by Wilson Yip. Wp.com


Unlike its contemporary cousins such as ‘Hero’ and ‘House of Flying Daggers,’ ‘Ip Man’ throws the genre’s traditionally melodramatic storytelling structure to the wind in favour of a more social realistic one. Ip Man isn’t fighting because of a dead wife or parent, but to avenge the suffering of the Chinese civilian population under the iron fist of its Japanese suppressors. This in turn means that the stakes are so much higher than other kung-fu films such as ‘Drunken Master’ or ‘The Streetfighter.’ This dramatic change in tone is actually highlighted by the movie itself. The first act, which takes place just before the Japanese invasion, has plenty of tomfoolery and insane wire-stunts, while the rest of the film is much more visceral and gut punchingly real. In a particular highpoint of the film, Ip Man is surrounded by ten Japanese kung-fu fighters whom he precedes to destroy in flair of devastating punches and kicks. Accompanied with the sounds of bones crunched and lungs pierced, there is not a second’s doubt that these adversaries are going, not to the sickbed, but the morgue. It goes without saying for both of the films I’ve highlighted in this article that the stunt work and directing of these action scenes are impeccable, but even with such stiff competition, like Ip Man himself; ‘Ip Man’ outranks even the best of what the genre has to offer.

Ip Man (2008), Mandarin Films. Directed by Winson Yip. Netease.com


跟它的近親電影《英雄》或者《十面埋伏》不一樣,《葉 問》循著功夫電影固有的故事模式並帶有寫實的歷史背景。 葉問的反擊並不是因為死去的妻子或家人,而是因為從日本 霸權下拯救受苦受難的中國人 – 整個意義突然升華甚至超出 其他諸如《醉拳》和《街頭霸王》等武打電影。 電影戲劇性的轉捩點亦由電影本身帶出:許多吊鋼線或者愚 人的武打場面在日本侵華之前出現,直到日軍佔領,終於出 現拳拳到肉的場場對壘。 最為人津津樂道的則是葉問的「我要打十個」場面,使出看 家本領的拳打和交替並隨之而至的骨折和穿肺的聲音,並不 訝異對手們最後不是去了療傷而是直接魂歸故土。 不消說,兩套精心挑選出的電影不論是導演或是動作均具極 高水準。而《葉問》就如葉問一般:在同類型電影中都是出 類拔萃的。


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Garde Magazine #33  

Themed Furniture and Industrial Design, Polish and Korean creators brought you aesthetics and practical design with movie critique on HK act...

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