ABOOK MAGAZINE Issue 28

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OCT. 2016 ISSUE 28

Cover Story

馮德倫

從演員到導演

Boundless Thoughts 意 念 無 邊 大師 Q&A 攝影大師 _林炳存專欄

Beautiful Space / NOISE / AMOEBA / Crisscross / GoodBye Our Fashion, Our Style 時尚攝影

一個理念可以帶你環遊世界 _ 吳建衡 從 三太子 到 巴基斯坦

HOMEWORK ABOOK's Picks 潮流新觀點

好氏品牌研究室 Master Interview 大師訪談


一 本 純 粹 用 底 片 表 演 的 雜 誌

10 4 台北市內湖區港墘路221巷3 9-1號 No 39-1 Lane 221 Gangqian Road Taipei T W

Te l : (02)2657-1666 F ax:( 0 2)26 5 7-15 5 5 E m a il : info@abook studio.com Webs it e : www. a b ook s t u dio.co m

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發行 Publisher 意團隊有限公司 Abook Studio

攝影編輯 Photography Editors A Yuan / Kuan / Ash

總編輯 Chief Editor 林炳存 Joshua Lin

採訪編輯 Assistant Editor 許菁芬 Ching 曾譯萱 Tonnie

副執行長 Deputy Director 姜安妮 Annie Chiang 統籌 Production Supervisor Kuan 創意總監 Creative Director 林炳存 Joshua Lin 視覺主編 Design Director 游晶涓 Jane 文字主編 Editor 趙鑫 Vincent Chao

造型總監 Styling Director 林夢薇 Monfi Lin 翻譯編輯 Translation Editor 姜安妮 Annie Chiang 行政管理 Administration 張騰元 A Yuan 英國特駐 Overseas Editor Linda Cooper 執行公關 Marketing / PR 星予公關 Starfish Concept

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C O N T E N T S

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從演員到導演

Six Degrees 六度分隔 _Annie

Editor ’s Note 編輯的話

Celebrity Column 名人專欄

Cover Story 封面故事_馮德倫

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時間與空間 _Nella

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TIME x SPACE 時 x 空 _Vincent

Joshua Lin’s Photography 林炳存專欄 Boundless Thoughts 意念無邊

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Master Inter view 大師訪談

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好氏品牌研究室

叢林中優雅的獵奇研究

Our Fashion, Our Style 時尚攝影 Beautiful Space 美麗空間 _A Yuan

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54 AMOEBA _Ash 70 NOISE _Kuan

不要忘記跟懦弱的自己說再見 GoodBye _Kuan Crisscross 交錯 _ Jackson Chiang

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ABOOK’s Picks 潮流新觀點

122 HOMEWORK 88 HOTEL V

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Mixed-Media Artist _Eileen Mao

From Reader 他的房間 His room _Seen Lin Inside Out _洪昀

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Lost In Time And Space _Steve Lin

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一個理念可以帶你環遊世界

AN IDEA CAN TAKE YOU AROUND THE WORLD

_吳建衡


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EDITOR’S NOTE 停在十字路口等紅綠燈,你在想什麼? 是放空?低頭滑手機?還是焦急地等著綠燈亮起,趕快往前趕路? 每次看著LED顯示的數字,逐漸歸零,總讓我感到驚覺,那數字一秒一秒地倒數,其實不正在提 醒我們,你我的時間正在流逝。 時間在走,而我停在當下,這時候的我,總是會突然冒出一堆念頭:我要做的事情那些還沒有執 行;那些等著我的事情會不會來不及? 十字路口的54321,這是屬於我的空間和時間,但和抬頭仰望天空,或透過哈勃望遠鏡看見的無 邊無際的宇宙相比,那簡直渺小無比。一個人的一輩子,甚至人類整個文明,不過是長河的一轉 瞬,滄海中小小粟米而已。 但換個角度來看,我的一秒鐘,也是宇宙的一秒鐘;我腳下的地球,也是宇宙裡的一平方米的土 地,如果我惡搞擺爛,或是全世界的人都惡搞擺爛,這個世界當下的一刻,時間空間就這樣給浪 費了。 為什麼我們生活的環境越 來越惡劣?大自然 越 來越骯髒污穢?如果太 空裡有一個紅 燈正在倒 數,我們的世界還剩餘多少時間? 空間是昂貴的,因為永遠不夠我們浪費;時間是奢侈的,就算我們是最卑微最不重要的一份子, 我們應該也有些貢獻,回饋這個浩瀚宇宙因為我們總是沒有感覺地在揮霍吧。 如果這一瞬間,我能掌握,我能不能做一件讓我覺得有意義的事呢? 想到這裡,我拿起相機,按下快門,捕捉一朵美麗的花兒,讓時間和空間的美好,留在當下了。

林炳存


Editor’s Note


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What goes on in your head when you’re at the crossroad waiting for the red light? Do you stare into blankness? Do you look at your cell phone? Or do you fidget anxiously waiting for the light to turn green? For me, the countdown timers always seem to painfully remind me that time is running out. It’s as if time is running, but I’m at a standstill. There’s so much to do. Will time wait for me? Will it be too late? 5,4,3,2,1… It’s as if those brief seconds are my own piece of space and time, a significant part of my world. But looking up towards the sky, those brief seconds can sometimes seem so minute in its relationship to the universe. From a certain point of view, one’s entire life, and even the era of an entire civilization, is nothing but a dust particle in the history and timeframe of the universe. I guess from another point of view, however small or unimportant our existence may seem, those few seconds is still considered a few seconds in the expansion of the universe. The earth we live on, however tiny in comparison, is still a part of the cosmos. If we don’t choose to live life to the fullest, or live life with a purpose, then we ultimately am the culprit towards wasting the universe’s space and time.


Editor’s Note

Why are our living environments getting worse and worse? Why is nature and its resources being depleted at such a fast pace? If there was a red light counting down in space, how much more time does earth have? Space is expensive because it’ll never be enough for us to waste. Time is a luxury, because we seem so unaware of its extravagance. To me, even if we are so tiny, or might be of no significance in the universe, we should still make our lives count. We should give back to the universe in any way that we can. If in this moment, you can be in control, why woudln’t you do something that actually makes a difference?

I pick up a camera, I press the shutter, and I capture a beautiful flower in bloom. May that exact moment of space and time, be captured and remembered.


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Cover Story

馮 德 倫

Photography JOSHUA LIN Make up 詹惟晴 Hair DERECK CHEN@FOUR HAIR CONCEPT Style SERENA CHUNG

拍攝想法 演過許多電影又導過許多電影的馮德倫,在拍攝婚紗照時不斷強 調自己是木頭,不太會擺pose,大家都笑了。 也許是印象太深,這次請馮德倫拍攝ABOOK雜誌的封面時,很 直接地就聯想到以木頭為主題。不僅用木頭做元素,更必須是死 板板的枯木。在我眼中私底下的馮德倫,是一位極度低調謙虛的 人。那樣的質樸與單純,或許褪去了演員與導演的外衣後正是如 同木質般的調性。 在藝術創作中,我們往往主觀地將這樣的特質視為一種框框、一 種限制,甚至是一種否定。但馮導並不將這些特質修剪或丟棄, 反而是待在這樣的框框與規範中,卻完全不受其限制。 在短短幾次的相處中我們見識了馮德倫的平凡,卻又深知他所有 的不平凡。因此我們以枯木為道具,並在鏡頭後靜靜等待著,看 馮德倫是如何用他的直覺為枯木注入生命,用藝術突破框架。


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馮德倫,歌手,演員,武術指導,監製,編劇,導演,幕前幕後全方位的藝人。2007年,執導音樂 MV「天下大同」獲第18屆金曲獎「最佳音樂錄影帶導演獎」,2012年他所執導的《太極1從零開 始》進入了第69屆威尼斯電影節非競賽單元首映及第37屆多倫多電影節「特別展映」單元。2015年 擔任美國AMC電視劇《荒原》 的導演及武術指導。 圖 Joshua Lin 文 Joshua Lin  /  Kuan  /  Tonnie

從演員到導演

Q 1:為什麼會想要從演員轉型成導演? 馮:在當演員時,發現自己對幕後的工作很感 興趣,一開始對導演在做什麼其實沒什麼概 念,但在演戲時,知道導演的工作內容後,就

次的《俠盜聯盟》就充滿偷東西,飆車和追逐 戰,《荒原》則是帶著濃厚美國色彩的武打劇 情片。

希望自己也可以透過畫面去呈現想說的故事及

Q4:

情緒。其實一開始發現自己能做導演,是因為

期,像您拍攝電視劇《荒原》和電影《俠

幫一些朋友拍MV,之後拍著拍著就拍了第一

盜聯盟》,你覺得之間有什麼差別?

部電影-大佬愛美麗。比起演戲,當導演時我

馮:儘管電視劇製作的時間沒有電影長,但這

多了一份熱忱,從攝影到剪接對我來說都是有

次為了達到武術片的效果,我們特地找了內地

趣的,雖然大家認為剪接時挑片的過程很煩

及香港的武術班底過去拍攝,投入大量的資源

悶,但我認為這個過程對我導戲時有很大的幫

與心力,幾乎都達到製作電影的規格。其中也

助,讓我能在拍片時知道我要的是什麼。

因為拍攝『荒原』而認識了這次拍攝《俠盜聯

現在可以說是美劇的黃金時

盟》的攝影師。

Q 2:目前進行拍攝的電影《俠盜聯盟》 與劉德華,尚雷諾等資深演員合作,在和他 們互動及溝通的過程中會有壓力嗎? 馮:我覺得不會有什麼太大的壓力,但因為是 第一次合作,一開始都需要有磨合的時間來瞭

在美國,兩者之間的差別我想主要在於,電視 劇較著重編劇及監製,導演可以每一集都不一 樣,只要劇情及風格是一致的。而電影方面, 導演可控制的部份就比較多。

解彼此的性格,而和資深演員的合作,他們都

Q 5 : 在指導西方人和東方人的拍攝

很有經驗很專業,所以其實不需要像帶新人一

武打動作會有所差別嗎?

樣特別指導,總是能一次到位。

馮:其實沒有太多的差別,武打動作主要都是 由我們去主導,他們會盡量配合我們的需求,

Q 3 : 馮導的電影大多以動作片為主, 是因為您的興趣嗎? 馮:我拍攝的電影都是自己喜歡的題材,當中 就算都是動作片,每一部的形式也都不盡相 同,像《太極》偏向武術動作主導畫面,而這

許多情況也因演員而異,像吳彥祖本身就有武 打的底子,對他來說在哪拍攝並無差別,我們 也因此可以安排一些更複雜的動作給他,而沒 接觸過武打的演員,我們會花一些前置作業的 時間來訓練他們,再安排替身去達到我們的要 求。


Cover Story

Q 6 : 導演的工作是很複雜繁瑣的,其 中哪一個部分是您覺得最有趣且最享受的?

電影就必須要到電影院才看得出真正的視覺享 受。VR我覺得會替遊戲市場帶來很大的改變。

馮:當一個鏡頭最後拍攝呈現出來的效果比預期

Q 9 : 平常使用什麼樣的相機在拍照?

來得好,或是拍攝時突然獲得新的靈感,場景因

馮:最方便的還是手機可以隨手拍隨手紀錄生

天氣的影響突然顯得更漂亮,都是令人興奮且開

活,相機目前較輕便的就是leica的M240。

心的事。

Q 7 : 西方與亞洲市場的差別? 馮:導戲的部分並無特別的差異,但在分工的部

Q10:如果覺得疲憊了都如何替自己充電? 馮:睡覺,睡眠是很重要的!

分,西方的發展是相對成熟且完整的,像market-

Q11:在什麼時候會想拍照?喜歡拍些什麼?

ing的部分,開播一結束,就會著手進行市場調

馮:如果去國外拍片時,會特別準備相機在身

查,觀察收視率,如果反應好,便能著手下一

邊,想拍時就可隨時使用。拍攝的範圍很廣,不

集。這次拍攝《俠盜聯盟》,我就有採用他們的

會特別侷限。

方式,多花一點時間與預算去把前置作業做好, 讓拍攝流程清楚明確,在開拍時就能更流暢且有

Q12: 我們雜誌這一期的主題是

效率的進行。

TIME&SPACE,您對這個主題有什麼想法?

Q 8 : 電影拍攝與製作的規格不斷地提

馮:我對外太空比較感興趣,如果未來太空旅行 變成熟,我希望能到外太空俯視地球,體驗一下

高,VR也慢慢興起,您覺得電影在未來會有

在宇宙的感覺,雖然現在的電影呈現的效果很逼

什麼新的發展?

真,但看到的畫面和親自感受一定會非常不同。

馮:像李安,Peter Jackson等導演,他們提高了

比起太空的無限大,身在地球的我們顯得如塵埃

電影拍攝格數增強視覺效果或運用3D畫面的呈

般渺小。

現,把電影播放的感官刺激帶到更高的層次, 給觀眾帶更不一樣感受,而他們也因此而得到 更多的成功,我覺得是非常好的,這樣一來有些


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Stephen Fung Stephen Fung has starred in and directed many critically acclaimed movies throughout his career. But his recent marriage to international superstar Shu Qi has put him back in the spotlight like never before. Fung and Shu’s pre-wedding photos were shot by our very own Joshua Lin, and during the shoot Fung jokingly proclaimed that he felt “stiff like a log”, as he didn’t quite know how to pose in photos. This was quite funny to everybody, because his view of himself was quite contrary from reality. Thus, for the cover of this issue, we wanted to put a spin to the “log” analogy of Fung. We used elements of wood to portray Fung’s down-to-earth personality. Behind the scenes, Fung is a tremendously humble, gentle, and unpretentious person. There’s a simplicity to him, that when you take away the title of “Actor” and “Director” you see this sensible and relatable man, just genuinely in love with his job. Some in the artistic industries might be quick to judge humility and gentlenes as being soft or constraining. But what we see from Fung is his ability to embrace his own qualities and turn his ordinary qualities into extraordinary achievements.


Singer, actor, action choreographer, writer, director; An all rounded talent infront of camera and behind. In 2007, Fung won the “Best Music Video Director” award at the Golden Melody Awards for Karen Mok’s video “天下大同”. In 2012, his film “Taichi Zero” saw tremendous box office success and became the official selection of the Venice Film Festival, Toronto Film Festival, and Busan Film Festival. Fung who is currently acting as Executive Director and Action Director for AMC original series “Into the Badlands” has also just wrapped up his next feature film “The Adventurers” set for release in the summer of 2017.

Q1:

How did you transition from Actor to Director?

A: When I was an actor I was always fascinated with what goes on behind the scenes. At first I didn’t really have a clue at all, but when I started to understand what the director’s role was, I slowly developed an interest in the director’s ability to tell a story and present its different emotions.

Q2:

Your most recent film in production is “The Adventurers” starring Andy Lau and Sean Reno. Was there any pressure at all working with such big stars? A: I didn’t feel alot of pressure actually, but because it was our first time working together, there was a short adjustment period to figure out their personalities and the way they like to work. Working with such experienced actors, they are so professional at what they do that I didn’t have to offer too much direction. Alot of shots took just one take.

Q3:

Most of your movies are action films. Is this your preference?

A: My films are about the subjects that I like. Though they may be in a similar genre, each film has its unique differences. “Taichi” focused alot on Chinese martial art sequences, while “The Adventurers” is an action packed film with car chases and things being stolen. “Into the Badlands” is even more different with strong American-style fight scenes.

Q4:

American television series has entered into a seemingly new golden era. Your work on “Into the Badlands” and “The Adventurers”, how are they different? A: Television series don’t usually take as long to produce as movies tend to take, but for “Into the Badlands” we wanted to focus on and get the action sequences right, so we hired a martial arts team from China and Hong Kong. We put in alot of effort and resources, almost to the standard of a feature film. While shooting “Into the Badlands” I also met the cinematographer for “The Adventurers”. The difference between movies and television series in the U.S is that television series places more importance on the producer and the script. Each episode can have a different director, as long as the script and style is cohesive. In movies, the director has a lot more control.

Q5:

Is there any difference between directing action scenes with Westerners and Asians? A: There’s not much difference actually. The choreography is determined by us, so they do the best they can to meet our requests. Alot of the times, things will vary when you’re working with different actors. For example, Daniel Wu


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has a martial arts background, and so we can give him more complex and difficult choreography. For more inexperienced actors, we spend more time beforehand, to train them, and also the stunt double, to best get the shot that we want.

Q6:

The job of a Director can get pretty complex. What do you enjoy the most? A: When a certain shot comes out better than expected, or when I get a new idea in the midst of shooting, or when the weather suddenly turns for the better. These things all make me happy and excited.

Q7:

Is there any difference between Western and Asian film markets?

A: There’s no difference really in the role of the director. However, in the job delegation aspect, Westerners have a comparatively more mature and complete system. For example,

in terms of marketing, after the first episode of a series is aired, the marketing team dives into a detailed analysis of the show’s ratings, and does market research to see how well the episode was received. For “The Adventurers” I utilized a bit of their methods, and spent more time and budget on pre-production, to get the shooting schedule clear and accurate, so that when we started shooting it would be more smooth and efficient.

Q8:

The standards and techniques of movie production are continuously rising. Virtual Reality movies are also gaining popularity. How do you see cinematography developing in the future? A: To me, Ang Lee and Peter Jackson have raised the bar for the presentation of 3D effects in movies. They’ve given movies the power to stimulate the senses, and have really brought the movie viewing experience to


another level. Because of this, many more movies in the future will have to be seen in theatres for people to truly experience its beauty. VR to me will bring about a tremendous change in the development of gaming.

Q9:

What camera do you use normally to take photos? A: The most convenient camera I use is still the one on my phone. I also use the Leica M240 as it’s light and easy to carry.

Q10:

What do you do to relax?

A: Sleep! Sleep is very important!

Q11:

When do you like to take photos? What do you usually shoot? A: When I’m filming abroad I like to have a camera with me so that I can shoot whenver I want to. I shoot anything and everything, I don’t really limit myself.

Q12:

The theme for this issue is “TIME&SPACE”. What’s your interpretation? A: I’m quite fascinated with outer space. If space travel becomes achievable in the future, I’d like to go and see planet Earth from up above. I’d like to experience what it’s like to be in space. Even though movie effects nowadays give us quite a realistic glimpse into what it’s like, I think it’ll still be quite different to be actually there in person. Compared to the size of the universe, people here on earth becomes so comparatively small.


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六度分隔 Six Degrees_ Annie Photography TONNIE TSENG Make up SANDY CHEN @ KIRAKIRA IMAGE Hair JUN @ FOUR HAIR CONCEPT Model DASHA @ ACE MODEL


Celebrity Column

「我還是個孩子的時候,我真的以為幸福的指標是生活在一個紐約豪宅喝著 馬提尼。從我們出生直到我們死去,我們一直忙於擁有物質的滿足,但是其

圖 Tonnie 文 Annie

實那些是不重要的。真正重要的是人與人之間的感動與連結。」-Tom Ford

曾經聽過六度分隔理論嗎?該理論是在證明我們

技介入的這個要素使得這整個想法更有趣也更

能與世界上所有人產生關連,而其中只需要不

有神祕感,整個理論的概念是要能夠接觸到實

超過五位中間人。

驗設定的目標者本人。這更像中國文化中那層

在龜速的郵遞時代,這個理論透過要求隨機選

複雜的所謂的”關係”。如果我運用關係去請

取的參與者們將包裹寄送給特定地址的陌生人

炳存導演透過他的母親連絡她的女兒,再由女

為實驗來證明。寄件人能得知收件人的姓名、

兒透過老闆去拜託派瑞絲傑克森。如果我透過

職業、以及通訊地址。他們被指示透過名字的

這樣的管道聯繫上麥克傑克森,那麼我能與他

關聯性將包裹寄給他們所有的朋友中最有可能

面對面的機率大概是80%...或許這數字太樂觀...

認識收件人的人。而收到包裹的寄件者的朋友

(我是相信他仍然活著的人之一!)但畢竟我如果

也用同樣的方式再寄給他們認為最有可能認識

直接在派瑞絲傑克森的臉書上私訊她,這留言

收件人的朋友,一直到該包裹順利送至收件人

被她立刻刪掉的機率應該是99%。

手上。這個實驗中所有參與者平均透過5-7個中

如此靠近,卻又遙不可及。

間人來將包裹順利遞送。 從另一方面來說,我猜想透過使世界上的每 想像一下。

個人在網路互聯,我們可以更確實地利用社

如果事實真是如此,那就表示我可以與麥克傑

交網絡去將公眾良知最大化。舉例來說,凱

克森、美國總統歐巴馬、李玟,或甚至金正恩

文貝肯創立的Sixdegrees.org機構便確實地將公

產生聯繫,僅僅透過五層中間人。要與麥克傑

眾人物們與公益活動做連結。公益活動能透

克森聯繫上我會把包裹寄給林炳存導演,他會

過網路將活動資訊發送給各界名人並透過他

將包裹寄給遠在美國洛杉磯的乾媽,令堂會將

們的參與來增加曝光率或使活動目的能更為

包裹寄給在NBA工作的女兒,然後女兒將包裹

推廣。Sixdegrees.org把將人們聯繫起來這個想

給她的大老闆,老闆或許就可以將包裹寄給派

法推至更廣義的層面以至於與公益、與各樣活

瑞絲傑克森,然後她就可以把包裹放在她父親

動、與各種不同的想法做連結。在我心中,這

的墳前(或是遞給坐在後座的他父親)。

是將人們連繫在一起更好的方式。

很不可思議。我覺得這是有可能的! 當然有人會說透過臉書或推特,我們可以直接 搜尋到對方本人。但是那有甚麼吸引人之處? 六度分隔理論被證實的當下並沒有透過電腦科

-end


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Ever heard of six degrees of separation? It’s the theory that we are all linked to one another through no more than 5 intermediaries. In snail mail time this theory was proven by randomly selecting people to send packages to a stranger located at a specific address. The senders knew the recipient's name, occupation, and general location. They were instructed to send the package to a person they knew on a first-name basis who they thought was most likely, out of all their friends, to know the target personally. That person would do the same, and so on, until the package was personally delivered to its target recipient. It took an average of 5-7 intermediaries to get each package delivered. Imagine that. If this were true, it would mean that I am linked to Michael Jackson, President Obama, Coco Lee, and even Kim Jong Un through literally just 5 people. To connect with MJ I would send my package to Joshua Lin, who would then send it to his god-mom in LA, who would then send it to her daughter who works in the NBA, who would then send it to her boss who could then probably send it to Paris Jackson, who could then lay it on her father’s grave (or give it to him in the backseat). Amazing. I think it could work!

being connected through six degrees of separation is so much more interesting and mysterious when no computer technology is involved. The true notion of six degrees of separation is actually being able to meet the target in person. It’s much like the complex idea of “guanxi” in Chinese culture. If I were to use my guanxi to ask Joshua Lin to ask his god mom to ask her daughter to ask her boss to ask Paris Jackson, if I could meet MJ, then the possibility of me actually meeting MJ would be like 80%...or am I being too positive… (I for one believe that he is still alive!). However if I were to private message Paris Jackson on Facebook, the possibility of her deleting my message would be like 99%. So close, yet so far away. On the other hand, I guess the positive aspect of having anyone in the world being accessible online, is that we could actually utilize social networking to maximize social conscience. For example, Sixdegrees.org founded by actor Kevin Bacon, actually links celebrities with charitable causes. Charities can fill in event information online and ask for celebrity drop-ins at their event to increase exposure or to amplify a cause. Sixdegrees.org takes the idea of connecting people and initializes it further by connecting people with charities, events, and ideas, which in my mind, is much more meaningful and the right way to bring people closer together.

- end

Ofcourse some would argue that with Facebook and Twitter now, you could pretty much search up anyone in the world and instantly be connected. But what’s the charm in all of that? The entire idea of 姜安妮 ,生長於加拿大溫哥華。八年前結束了 於匈牙利電視台的主持工作返台,並於2011年開 始與姊姊成立TaiwanSPCA致力于幫助受虐動物。 目前任職於ABOOK STUDIO擔任副執行長。


Celebrity Column

“When I was a kid, I really thought the key to happiness was living in a very artificial life in a penthouse in New York with martini glasses. From the time we’re born until we die, we’re kept busy with artificial stuff that isn’t important.What’s important are your connections with other people.”- Tom Ford


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林炳存專欄 _

Boun dl e s s


Joshua Lin’s Photography

意 念 無 邊 Photography JOSHUA LIN Style Director MONFI LIN Makeup & Hair MONFI LIN Fashion Design JENN LEE Model JANELY@DOLLS MODEL Special Thanks 新美豐印染場

Thoug h t s


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目前人類的科技可觀察到的星系是處於非常遙遠的地方。它的光線可能花 了數十億年才到達我們的視線。光線在宇宙飛行到我們的眼前時,那些星 系可能已經成長到類似我們銀河系的大小,或者已成為更大的星系。我們 看到的也許已成為過去式。一個儲存在時間裡的影像。

The galaxies we can observe with current human technologies are so far away that it would have taken billions of years for its light to reach us. By the time the light reaches us, that galaxy may have grown into galaxies like ours, or larger galaxies with black holes in the center. What we see may be the past. Nothing but an image stored in time.



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眼睛儘管看不透,想像空間卻可以變化萬千 時間容易被侷限,但思考空間卻沒有極限 空間與時間被限制在現實框架中,思考與想像卻沒有框架沒有邊

If our eyes cannot see, our imagination can. Time is easily limited, but our thoughts are not. Space and time is confined within realities’ framework, but thoughts and imagination has no boundaries.


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眼睛看到的地方有限,看到的就只有眼前的景物,如果眼前一公尺有 一面牆,我們頂多只能看到這面牆,牆後是我們看不見的,但是我們 的腦就可以去想像,想像牆後可能是一大片汪洋甚至是星空......等。


The things we see with our naked eye is limited, because we can only see what is infront of us. If a wall is infront of us, we can merely see the wall, but not the wall behind. Our imaginations are different though. We can imagine that the wall behind us is blocking a vast body of water, or a sky full of stars.


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意念和肉眼的觀看是不一樣的,意念可以隨時帶我們到任何的 地方。時間累積換來現在看到的場景,處在這個有著歷史痕跡 的場景中,我們的思考可以有很多不同的層次。藉由意念投射 出來的海洋、天空,遠到木星甚至 整個銀河系,代表著想像隨 時都可以有不一樣的轉動。

__ __ __

Our thoughts can bring us to any place we want to go. Over time, our thoughts can have many tiers, influenced by all the things we’ve experienced and learnt. The skies, the ocean, even the entire Milky Way, is within our reach, through our thoughts.


Joshua Lin’s Photography


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「時空旅行以前被認為是科幻小說裡的情節,但其實愛因斯坦的相對論讓 扭曲時空的可能性提升。我們也許可搭乘火箭出發,並在它出發前就返回」 - 史蒂芬·霍金

“Time travel used to be thought of as science fiction, but Einstein’s general theory of relativity allows for the possibility that we could warp space-time so much that you could go off in a rocket and return before you set out.”- Stephen Hawking


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此次雜誌主題是時間與空間,大哥在廢工廠拍攝搭配投 影,想要表達出人雖然會受到現實實際時間與空間的限 制,但意念卻不會。和造型師小葳非常有默契的在2小時 內含妝髮拍完了驚心動魄的5套,令人嘆為觀止,以下是 拍攝完畢後多出來的時間進行簡單的QA。

Q 1 : 我們想詢問的是關於燈光方面的問題,為 何您會選擇使用DEDO LIGHT這個工具?

A : 因為此次拍攝使用了投影機,用DEDO

LIGHT看的光

比較準確,如果使用閃燈,他的光和肉眼看到的光線會有 些落差,閃燈的出力也比較強,所以我用DEDO LIGHT是 方便配合投影機的光線強度去拍攝,這樣比較有協調性, 而不會在畫面的呈現上有一邊暗一邊亮的情況,如果使用 閃燈就需要花較多時間去調整,也因為出外景拍攝的考 量,這是一個比較輕便的選擇。

Q 2 : 在拍攝時使用DEDO LIGHT這種光源,想請 問在使用DEDO LIGHT時您有什麼特別的小技巧?

A : 其實我覺得任何的光源對我來講都一樣,不管是用 Flash或持續光,它們的原理都一樣,只是因為我們要拍攝 怎麼樣的東西而去決定。 剛剛強調因為帶的投影機光線不是很強,所以必須使用比 較長的時間去曝光,就算用Flash可以很快也沒什麼意義。 因為使用的底片是日光片,所以我在DEDO LIGHT前加了 一層淡藍色的濾片,讓顏色回來一點,不要那麼的黃。為 了不干擾投影機的光,所以也不想用太多的光去帶到牆 壁,如果牆變亮,投影機的層次和畫面的質感會被破壞 掉,DEDO LIGHT是屬於比較聚的光源,比較不會去影響 周遭的環境 。


Joshua Lin’s Photography


34


Behind The Scene

Q 3 : 為什麼會想用投影去呈現不受限制的方式? A : 其實有很多感覺我們都只能用形容的,我們眼睛 看到的地方很有限,眼睛就像顆標準鏡頭,我們看到 的就只有眼前的景物,如果眼前一公尺有一面牆,我 們頂多只能看到這面牆,牆後則是我們看不見的, 但是我們的腦就可以去想像,牆後可能是一大片汪洋 甚至是星空......等。意念和肉眼的觀看是不一樣的, 我覺得意念是可以隨時帶我們到任何的地方,但是用 眼睛我們需要到達那個地方才看得到。我選擇這個地 方是因為它即將被拆除,它經過了很久的年代,是一 座染布廠,它的時間是一個歷史,時間換來的是我們 現在看到的場景,被關在這個場景時,我們的思考可 以有很多不同的層次。用投影機是因為可以快速的投 射出不同的風景呈現新的場景效果。投射出海洋、天 空,遠到木星甚至整個銀河系,那是我們的意念,代 表隨時都可以有不一樣的轉動。


36

Q 4 : 在拍攝的過程,您比較願意犧牲曝光時間,而會比較希望光圈 都鎖定在至少f5.6上下,有什麼特別的原因嗎?

A : 這比較偏個人的拍攝習慣,我不太願意去把光圈開到最大,尤 其是在這麼暗的地方,因為我們不是使用自動對焦而是手動對焦, 對焦的準確度比較不好控制,所以至少收一個光圈,對我來說在拍 攝上會比較放心。

Q 5 : 您在拍攝時,不論是使用120或135,發現您喜歡用標準鏡頭去 抓取畫面,這也是個人習慣嗎?還是有其他原因?

A : 可能也是自己的習慣吧,一個鏡頭用久了,對那個鏡頭很熟 悉,我常在說『標準看人生』,透過一顆標準鏡頭,你可以看盡不 同的人生百態。我廣角鏡頭用得較少,今天要把後面的場景帶到又 要把人物顧好,我覺得標準鏡頭很適合。


Joshua Lin’s Photography


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Joshua Lin’s Photography

Shot in an abandoned factory, using the projector, this is the portrayl of human bodies being constrained by time and space, while human thoughts are not. The photographer and stylist worked so insync that they completed 5 different mesmerizing looks and shots in just two hours. What kind of techniques were used? What light sources? Let us find out.

Q1:

Why did you choose to use the DEDO LIGHT?

A:

The DEDO LIGHT can more accurately blend with the light from the projector. If you use the flash, what you see may be different from what you capture because it is a much stronger light source. When you’re using a projector you want more cohesion, so using the DEDO LIGHT prevents you from getting one side that’s darker or one side that’s brighter. If you choose to use the flash though it may just take a longer time to adjust. For an outdoor shoot it’s just an easier and more convenient tool.

Q2: A:

Any certain tips for using the DEDO LIGHT?

To me, any kind of light source is the same. Doesn’t matter if you’re using flash or continous light, their principles are the same. It’s just a matter of what kind of effect you are aiming for. Above we mentioned that the light source from the projector is not as strong, so thus we need a longer exposure time. Even if the flash can do that, it’s irrelevant in what we are shooting. The film we used is a daylight film thus infront of the DEDO LIGHT I added a light blue filter to bring the color back a bit, to make it less yellow. I didn’t want to interfere with the projector so I didn’t want to bring too much extra light to the wall. The DEDO LIGHT is a more concentrated light source that won’t interrupt with your surroundings.


40

Q3:

Why did you choose to use the projector to portray the idea of being “unrestricted” ?

A:

What our eyes can see is very limited. Our eyes are like the standard lens. We can only see what is infront of us. We can’t see anything behind or beyond. However our minds can run wild. Our imaginations can take us anywhere we want. I chose this rundown fabric factory because it’s about to be demolished. This place represents an era of the past, a part of history. Time has allowed this place to become what it is. In this space, with the aid of the projector, we can quickly project the different types of sceneries that we want. The ocean, the sky, Jupiter, and even the entire Milky Way can be brought forth, representing the power of our minds to change what we see.

Q4:

In this shoot, you aperture was set at around f5.6, while sacrificing longer exposure time. Is there a particular reason for this?

A:

This is more of a personal habit. I don’t like to shoot with the largest aperture especially in such a dark place because we are using a manual focus not an automatic focus.

Q5:

When you shoot, whether it’s using the 120 or 135, you like to use the standard lens. Is this a personal habit as well? Any specific reasons?

A:

I think it’s a habit as well. The longer you use a lens, the more familiar it becomes to you. I rarely use the wide angle lens. Today we want to capture the background just as much as we want to capture the model. Thus I thought the standard lens was appropriate.


Behind The Scene


42

也許一切都是假象_

Nella

在同一個空間裡待很長的時間,就像加班到早上看著大家在出門上班前排隊買早餐。在很短的時間內 不斷換著空間,就像與不同客戶開會在商業大樓間不斷低頭確認著手錶。我們上學的日子每天待在教 室覺得自己浪費青春,不夠時間玩樂。當兵的日子覺得自己浪費生命,沒時間陪家人。上班之後覺得 自己折損健康,爆肝就為了幾個錢。不斷搬家換著學校、不斷懷才不遇換著部門、不斷在消費了別人 的信任之後換著城市、不斷在病痛的陪伴下換著診間。

我們整段人生所佔的時間中開心的瞬間有時候僅僅只是小貓小狗做了些人類的舉動、政治人物做了些 可笑的決定、美國隊長的電影裡有蜘蛛人、馮迪索在街上甩尾。有時候我就這樣過了好幾個星期,卻 不覺得自己在浪費時間。多麼愚蠢的價值觀。但在一首歌被買走前、說好的款項入帳前、朋友的到訪 出現前、出院的日子來到前,竟是這些真正浪費生命的事物在延續著自己的笑容。

我們在與空間和時間的拉扯中漸漸失去了力量,漸漸失去了鬥志,漸漸失去了平衡,趴在地上吃土。 我們掩著臉上的狼狽在人前大言不慚地描述著夢想,拼命歌頌著追逐夢想的過程。

仔細把這些過程攤開來看,裡面大都是動漫、手遊與翻白眼的柯基啊...

- end


Celebrity Column

Nella ,於ABOOK任職音樂製作,兼任影像後 期。曾與 資 深藝人陽帆共同創作歌曲「陽婆 婆」,並曾與ABOOK影像團隊共同製作范曉萱 單曲MV「年」。

A long time spent in a certain space is like when you’re heading home after working through the night, and you see people reading the paper and eating their breakfast. A short time spent in a certain space is like when you’re rushing between meetings, constantly looking at your watch to see when you can leave. When we were in school, everyday spent in the classroom made us feel like we were wasting our youth. Not enough time to play. When we were fulfilling our duties in the army, we felt like we were wasting our life. Not enough time to spend with family. Now that we are in the work force, we feel like we are ruining our health, for nothing but a meager income. We constantly move, change schools, switch departments, etc. seemingly looking for something ‘more’. A significant part of our lives is spent focusing on those small little things. The new tricks that our pets have learned to do, or what humiliating comments another politician has made on TV. We find joy in seeing Spider Man in Captain America, or Vin Diesel street drifting in another sequel.These are the trivial things that have accompanied me through my life, yet I have never once felt like I was wasting my time. What twisted values, right?! Before a song is purchased, before my advance comes in, and before my friends arrive to see me, these are the actual things that are wasting my time, yet keeping a smile on my face. Our tug-of-war in between time and space, is clearly diminishing our will and innate human equilibrium. We’ve become used to absorbing the irrelevant. It’s as if our life revolves around watching soap operas all day, or anticipating the next episode of KUWTK . Yet what’s contradicting is, we all put up a front. We tell all those who will listen, about our dreams and aspirations. But when you actually dissect our lives apart, maybe all you will see are non-important cartoon characters, prancing around in a game, living in their own make-belief world.


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Our Fashion, Our Style PHOTOGRAPHY / A YUAN MAKE UP /詹惟晴 HAIR / Ode y@fo u r h ai r co n ce pt ST YLING / Ae ri l S h a n MODEL / Olga @ fashion model management SPECIAL THANKS / FENT Y PUMA BY RIHANNA / DAMAGE

美麗 空間


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Our Fashion, Our Style

享受喘息的聲音

Enjoy

脈搏鏗鏘的變奏

The sound of our breath

觸摸心跳的頻率

The rhythm of our pulse The frequency of our heartbeat

跳跨空間的界線

Leaping across spacial boundaries

成就美力的領域

Creating a beautiful domain


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SPACE EXPLORATION



52


Behind The Scene


54

N

LI J I DA A D LI N / RV I N A M / TOR R E C AN I D E KU AT I V HY / P A CRE R EH TOG Re e l IKI Y N PHO Fl ux / G @ N N I L N LI STY A RV I M / OR A R 工程 / FL HAI T SU N 設計 Y A E 元 T L IS TA N LI @ ASS EL P/ S I DA U J MO D E A S D K L / L A M DO IGN DES IA @ N T E E S S K EL / MOD

O


Our Fashion, Our Style

S

I

E

每個人都像是社會中的一個聲音、一點噪音,當所有的人齊聚這些聲響時,卻成 了模糊不清的頻率。太多的聲音便不再是聲音,那些我們以為的吵雜聲流於空 白,消聲於白。 人們都有自己想傳達的聲音,從一無所知的新生,經過時間改變、社會化的束 縛,空間的轉載,幾年之後,也許都不再是原本的聲音。最害怕的莫過於這些轟 天巨響、喃喃細語,到最後都變成實際存在,大眾卻已聰耳不聞的「雜音」。


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We are all “noises� in this society. When we get together, these noises become blurred frequencies. Too much sound become not sounds, but noise, turned into nothing. Everyone has an urge to have their voice heard. From the time we were born, to being molded over time, constrained by social norms, perhaps the voice we have now isn’t even the original voice we had. The scariest thing is when we voice our opinions but none of it is heard and that it all becomes just noise. Noise that noone cares about.


Our Fashion, Our Style

個體、單人的意念在混沌中發展,在自我的世界裡塑形醞釀。 人被形狀曖昧不明的網包圍著,形成了一個讓本性得以自由展露和 被受保護的空間,像在獨自想像中,自我獨白,喃喃學語。

Individuality. Shaping and brewing in our own world. Humans are surrounded by ambiguous shapes and lines, that protect ourselves yet at the same time lets us roam free. Like a monologue, in our own imagination. Muttering.


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我們正與社會互動、相互覆蓋性格、社會化學習。 象徵激烈意識的鮮紅布條,拉出了一個糾結纏繞的空間,表現個體 社會化中有所矛盾、拉扯與控制的過程。

Interacting in society, overlapping personalities, socializing, learning. The red fabric and drapery represents an intertwined space, symbolizing the contradictions in society, and the pull and bear parts of our world.


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已經社會化的個體都是一種正在發聲的媒介,對於更大的社會體制和國家來 說,都儼然成為大聲疾呼卻不被聽見的噪音,被框架困住,僵硬而無感。

The socialized individual is like a voice; a medium. To the larger entity of a society or of a nation, this voice is shouting but not heard. Trapped within a frame. Frigid. Apathetic.


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隨著年歲漸進,越是清晰自身本質的輪廓。 打破了僵固住自己的所有,就此有了新的對話空間。



As we get older, we see ourselves for who we truly are. We break through things that hold us back, reaching a space for new dialogue.



66


Behind The Scene


68

TIME x SPACE 時 x 空 _ 趙鑫

時間和空間,是一對戀人, 如果它們沒有手牽手,彼此相愛,宇宙就不存在了。

圖 Joshua Lin 文 Vincent


Celebrity Column

時間是流動的,參照空間的堅定不移,才能從

成連續運動,就更能紀錄出時間的流動和空間

抽象的概念,變成存在的意義;

的變化。

空間是固定的,唯有歲月的流逝,才能改變它 的容顏外貌,刻劃出斑斑的痕跡。

時間空間是恆變的,前一秒和下一秒,永遠不 會再一樣。

時間和空間,建構了人類的世界,歷史長河滾

只可惜,當下的我背對著書桌,認真地清理貓

滾往前翻騰,一代又一代的繁衍中,將荒野創

砂盆,除了聞到臭臭的味道,眼裡看見的全是

造成文明,自以為是的我們,並沒有瞭解到時

我家黑貓的便便。2016年10月1日上午9時33分

間的無情,虛度揮霍,過去就再也不能重來;

24秒就這樣從我背後溜走,再也不會回來,我

也不能珍惜空間的有限,浪費糟蹋,消耗殆盡

沒看見的世界,將永遠無法複製重現。

之後就資源枯竭。

坦白說,我並沒有為此沮喪,一顆咖啡豆醞釀 出的香氣,和一粒貓砂凝結的臭味,價值相

試想很久很久以後,地球會是什麼景況?

當,那一瞬間無論選擇背後的咖啡豆還是眼 前貓砂,也都不算浪費生命。儘管沒有拍下照

是否還能在時間洗禮之後,大山大海之間,找

片,或是錄影成Video,我將2016年10月1日上

到人類的遺跡?那經得起時間淘盡空間移轉而

午9時33分24秒所能感受到一切,存進腦海裡,

剩下的又會是什麼?傾圮的建築?語焉不詳

成為我的短暫歲月裡,不能抹去的一度刻畫。

的詩歌?模糊斑駁的繪畫?艱澀符號一樣的文 字?還是所有人類的活動痕跡,都被儲存在數

電影戲劇中,「時光膠囊」的概念,總讓人充

位記憶載體裡,轉化成0與1二進位的程式編

滿想像空間。不管是照片、影像、文字、聲音

碼,但其實根本無法解碼重?

或是任何有形的物體,放進堅不可摧的容器

我們的無知,是因為我們明明無力抗衡,卻自

中,深埋進空間當中,在時間長河裡漂流。「

以為能主宰時間空間,蔑視過去,奢想未來,

時光膠囊」的意義,並不是為了能讓外星人打

卻把每一個美好的當下,浪費在自己手裡。

開,而是提醒我們對當下此刻的美好或是不好 美好,都該好好記憶。因為隨著生命歸零,意

舉個例子,假設,2016年10月1日上午9時33分

識消失,我們的存在,不復任何意義。

24秒,颱風過後的陽光透進我的窗戶,籠罩我 書桌上咖啡杯的一半,影子斜斜裡,熱氣裊裊

請在我們能夠擁有的時候,對時間和空間,充

升起,帶著飽含水份的香味,從光亮擴散到陰

滿謙卑的敬意。

影之中。如果我用相機拍張靜照,這個瞬間便 能保存在膠片(或是記憶卡)當中;當然,換

- end

成影像錄影,每秒30幀的畫面,從單張靜止變

Time and space are like lovers.


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If they weren’t holding hands, loving each other, then the entire universe would not exist. Time is fluid. It is no longer abstract when relative to space. Space is static. Only with the passage of time, does it slowly change.

time nor space. Yet we overlook the past, while constantly wanting more for the future, and in the process of it all, we ignore the present.

Time and space are the elements that construct and give meaning to the human world. Throughout history, with the creation of civilizations, humans always think that we are the

Need an example? Lets assume that today is October 1st, 2016. It’s 30 minutes and 24 seconds past 9 in the morning. The sun shines in through my window, brightening up half of my coffee mug, creating a slanted shadow. You see the steam rising, slowly spreading from light to dark. I take a picture with my camera. This sud-

most important creatures at the center of it all and that the world revolves around us. But humans have proven to be ruthless and greedy; depleting Earth’s resources, destroying the environment, and not cherishing the limited space that we have.

den moment in time is captured on film (or in a memory card). If you use a video camera, thirty frames per second are captured. The one stillphoto is turned in to a continuous movement, even more able to capture the passing of time and the changes in our space.

Do you ever wonder what the Earth will look like millions of years into the future?

Time and space is constantly moving. The last second will never be the same as the next.

Will we still be able to find traces of human life in between the mountains and the sea? What will be left when time runs its course through the space we call home? Will buildings be collapsed? Will poems not rhyme? Will paintings become fuzzy and blurred? Or will all things as we know it become binary code, quantified, but unable to be restarted?

Honestly, this may all sound very depressing, but I’m not at all saddened by it. The coffee bean’s aroma versus the smell of the cat litter; their value is in the eye of the beholder (or smell of the beholder). Even if you didn’t take a photo or video to document the current moment, you can still capture it in your mind, and let it become an inerasable part of your memory.

Our ignorance stems from our self-righteousness; we clearly don’t have the ability to control

In the TV Movie “Time Capsule”, their concept is so propelling and lets our imaginations run


Celebrity Column

wild. Doesn’t matter if it’s a photograph, an image, a paragraph, a voice, or any tangible object; you can put it in the time capsule, bury it in space, and let it run through time. I guess the true meaning of the movie is that our time capsules shouldn’t be filled with the hopes of being found by extraterrestrials. But rather, it is reminding us to remember as much as we can about the moment we are living in now. It can be good times or bad times, but what’s undeniable is that as

down to zero. When we finally get to the end, we would cease to exist, we die, and then everything that we thought were so important wouldn’t really matter at all.

Be filled with humility and respect for time and space, while we can still experience it.

- end

we live our life, we are essentially counting

趙 鑫 , 意團隊立體影像總 監,一個藉由描寫人物建構情 感來編織故事的文字工作人。

任何可能發生的都會發生。 任何可能出錯的都會出錯-墨菲定律 Whatever can happen, will happen. Whatever can go wrong, will go wrong- Murphy’s Law


72 Photography / Ash Make Up / Oswald Huang Hair / Jun Chang @FOUR Hair Concept Styling / Beryl Chang Model / 朱葒 @Catwalk


Our Fashion, Our Style


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終有一日,一切的一切會被迫趨近於零。 僅存的無形記憶也將跟著被撕裂破碎,慢慢的、漸漸的。 而時於空的間隙內埋藏著變形蟲,分裂再分裂、破碎再破碎 將我們上班的路途、花果的氣味、摯愛的臉龐與溫潤的擁抱 一併輾轉後炸裂。


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One day, everything will reset back to zero. Our intangible memories will be torn apart slowly, while an amoeba will erase all of life as we know it. The smells we love, the roads we are used to, the ones we care about, will be like a supernova, removed in a catastrophic explosion, unable to be brought back.



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將平面膠卷沖洗放相後重複堆疊、切割,不但仿造出斷裂與破碎同時也 營造出立體的平面空間,進而訴說著時間的流失、空間的斷裂。


Our Fashion, Our Style


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Method: We developed the film and layered it. We then cut it to mimic fractures and ruptures to create a 3D sense of space, hoping to represent the loss of time and broken spaces.



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DIREC TOR / Joshua Lin V IDEO / Ash PHOTOGRAPHY / Kuan HAIR / Odye@FOUR hair concept MAKE UP / 詹惟晴 ST YLING / sandy chen@KiraKira Image MODEL / Jessica Kuo SPECIAL THANKS / 斜室 / HOMEWORK / LINLI WEDDING BOUTIQUE

不要忘記跟懦弱的 自己說再見

GoodBye

和往常一樣醒來,隨手整理自己,收拾自己的樣子,也收拾著自 己的心情,已經是離開他的第三個禮拜,漸漸也習慣了沒有他的 感覺,謝謝你讓我成為更好的人,然後我今天也要勇敢地踏出新 的一步,該出門了,走吧。 對了!差點忘了,忘了跟懦弱的自己說再見。

『再見』


Our Fashion, Our Style


84



86


Don’t forget to say goodbye to the cowardly you I wake up. It’s like any other day. I fix myself up and contain my own emotions. It’s the third week since he’s gone. I’ve slowly become used to life without him. Thank you for letting me become a better person. Today I will take that courageous step, a new journey out the door. Oh yes, I almost forgot. Forgot to say goodbye to the cowardly me. Goodbye.


88


Our Fashion, Our Style

GoodBye


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HOMEWORK

Homework Studio 創立於2014年,位於一個需要稍微用力尋找的像巷弄內,店長所說不喜歡太麻煩的東 西,喜歡隨興順便一點,所以店內的一切都是相當愜意隨興自然,充滿著手作與老物件 的優雅質感。從販售古董,家具訂製,戶外道具展售,商品租借到空間設計,都是其營 業項目。


ABOOK’s Picks

圖 Tonnie

文 Tonnie / Kuan

關於產品,因為喜好戶外活動,想以最貼近自然的產品來體驗生活所以開始嘗試做出能 跟隨使用者一輩子的戶外道具,也希望產品可以使用出個人的特色,以他們的方式與自 然對話。

Q 1 : 為什麼願意花那麼多的心力為

Q 2 : 我們注意到HOMEWORK粉絲

客人進行客製化的服務,如調漆、仿

頁的照片,拍起來很貼近生活感,又

舊上色等?

帶有一種復古的味道,可以感受出每

之前有一位女客人是店裡的常客,她的

張照片都很用心的去調整角度,不管

興趣是拍攝食物。之前來店裡買了一張 桌板和椅子拿回去做拍攝的道具,其最 後的成品很有美感我很喜歡,所以之後 他請我幫他做背景板什麼的我都有專門 幫他處理。 我覺得進行客製化挺有趣的,雖然利 潤沒有很多,但自己願意做、好玩、有 趣,又能販賣還挺好的,就多少都有幫 忙客製。

是散景或構圖搭配,請問本身有學過 攝影嗎?還是因為學建築設計的關係? 謝謝你喜歡我們的照片,很遺憾完全沒 有學過正規的攝影,只是很常要做這件 事,事情常做總會掌握到一些什麼,我 覺得這個挺直覺的,對我來說很自然就 是要這樣拍,當然我也很常偷懶請我的 同事們幫忙,還是覺得有很多事情做的 不夠。


92

Q 3 : 你有學過照片調色方面的技巧嗎?是使用哪

語,意思大概是“我們買垃圾,但我們賣你古董”,

一台相機做拍攝?

這樣的想法跟我們很像。我們買了你們不要的東西,

沒有學過,就是單純依照自己的喜好去做調整。現在是

整理之後把它改造成我們喜歡的樣子,而你剛好也喜

用Sigma的DP2 Quattro,這台對我來說就挺夠用的,畫質

歡,就可以賣給你。

很好,照片能貼近生活,有種似底片機拍出來的感覺。

在經過我們的改造加工後,東西就會有不一樣的附加

其實其他相機也可以達到我的要求,但這台的外型我特

價值出現,這是個簡單的想法,但在台灣卻不常見,

別喜歡,而且我不想要用一台自己無法操作的相機來

我覺得台灣缺乏有質感的東西,或是質感上的眼光,

拍攝。

很多東西明明只差那麼一點點就可以變得更美,但就 是沒有人去把它做好。像我採購回來的這件毯子,看

Q 4 : HOMEWORK的物件都是有歷史的或是被人

起來不錯,但總覺得缺少了點什麼,我就幫它訂做了

使用過的,常有一種私人的感覺,相對於目前市面

一個提帶,感覺就完全不一樣。

上一些較商業化的選物店,你有什麼看法?

我也喜歡找當地的手工物件師傅合作,合作的過程與

我們在海外有一些小幫手幫忙選購商品,旅行時也會留意

結果讓彼此都有收穫。

相關物件,但基本上我們不會因為哪個東西會賣,就進那 樣商品,反而是以我們空間的需要或是自己的直覺去選擇

Q 7 : 這裡雖然有很多老物件,但沒有相關的知

商品,有時我們把一個物件買回來,會進行改造,讓他成

識背景就看不太懂,你覺得有什麼東西應該讓其

為符合我們的物件,融入我們的空間之後,也不一定要

他人了解的,或可以特別介紹的?

販售,但只要有客人覺得他也喜歡並認同我們的選擇,

我不太知道外面的人看不看的懂,但來我們店裡的

我們就會割愛出售。

人,都有不同於別人的審美觀,很多是相關行業來做 交流或對老物有興趣的,另外因為我們店藏匿在巷弄

Q 5 : 為何會取名為HOMEWORK,是因為想要有

中,所以大多都是特地過來的,也就沒有看懂不懂的

像家的感覺嗎?

問題。至於一般的過路客對我們來說並不是主要的客

其實取名為HOMEWORK是家庭作業的意思,除了好記

源,當然我們也歡迎大家來參觀。

之外,概念是必須把家庭作業做完,才可以玩遊戲。 一切都和家有關,家是我們生活的空間,而我們的這些

Q 8 : 除了在國外請小幫手幫忙採購,還會去哪

物件都是平常在家很常用到的。

些地方挖掘這些老物? 其實大多是利用旅行的時間,順便做採購,沒有特定

Q 6 : 在挑選物件的過程中,都是怎麼進行的?

的點。

我挑選的方式是靠想像力,瞇著眼睛那樣(笑∼,看出

我們並沒有把HOMEWORK當成一間商店在經營,反而

它內在的資質,因為一般人可能就覺得就是個用不到的

是當作一個可以工作的地方,同時滿足我收集嗜好的

東西。之前在國外的一間古董店外面看到一句有趣的標

存放,如果對東西有興趣也可以互相交流,在這樣的 前提之下,經營起來就沒有太大的壓力。


Q 9 : 每個創作者在不同的時期會有不同的創作

Q 1 1 : 這一期雜誌的主題是TIME&SPACE,不

風格,請問您最近在做設計時有沒有偏好的風格?

知道你對這個主題有什麼看法?

前一陣子迷上在野外露營,主要是在戶外的時候,可

有時候有人問我最想去哪裡旅行,我會說最想去七零

以單純的體會到我們人類真正的需求,讓喧囂造成齒

年代旅行,回到過去旅行,回到自己出生前的年代。

輪的空轉可以重新銜接,當然我需要能在野地能夠從

在那個時間與空間,不會距離自己太遙遠,不會令人

容的應付各種狀況,也因為如此最近設計了一些露營

顯得格格不入。

相關的物件。

國內那時有很多實力派的創作者,不管是建築或音 樂,各方面都有與國外大師齊名的佼佼者。

Q 1 0 : 在你設計或參與整理創作的物件中,有

現在這個時代有太多的干擾了,大家總是容易分心、

沒有什麼是你印象深刻的?

被影響,急於把成果拿出來炫耀,害怕想法被瓢竊,

最近製作了一只皮凳子,是從旅行中發掘的靈感,看

而忽略的成品的完整性,很難找到振奮人心的作品,

到 國 外 有類似的設計,覺得自己也可以嘗 試 去 做 看

也很可惜。

看,就做了,成品讓自己很滿意。


94

Founded in 2014, Homework Studio may take a little more effort to find, in the alleys behind Chiang Kai Shek Memorial. The manager tells us that they don’t like to make things too complex, but rather prefer a more casual demeanour. Their shop is filled with an elegance, adorned by antiques and custom-made furniture. Aside from selling out door-furniture and naturally made merchandise, product and space rental is also part of what they do. They hope that their products can last a life time and develop its own personality with each use. It’s their way of communicating with nature.

Q1:

Why do you put so much effort into offering custom-made services (ex. paint jobs, color correction, etc.) for your clients?

A: I had a client who came in quite often, and her hobby was photographing food. She came in once and bought a table and a chair to use as props in her shoot. I loved her photographs. So when she asked for custom backdrops I would do it for her. I think custom-made items has this appeal. Though the profit margin is not high, it’s fun, interesting, and assists our clients, so why not.

Q2:

We noticed that the photos on your Facebook p age is very casual yet has this vintage feel to it. You can see the detail paid to each picture. Have you learned photography before? Or is it because of your background in architecture?

A: Thank you for liking our photos! Unfortunately I’ve never taken classes in photography. I think it’s just intuition and because we do it so often, you kind of learn through trial and error. I’m lazy sometimes and ask my colleagues to help me with the photos. There’s so much more we want to do that sometimes I feel like we aren’t doing enough.


Q3:

What camera do you shoot with? How did you learn to adjust the color of photographs? A: I’ve never learned how to adjust color, I just do it according to my own taste. The camera I’m using now is Sigma’s DP2 Quattro. This camera to me is sufficient, the quality is good, and the photographs come out with this natural look to it that mimics that of a film camera. I guess other cameras can also fulfill my needs, but I specifically like the physical appearance of this camera. I don’t want to use a camera that I can’t handle either, so this one is good for me.

Q4:

HOMEWORK carrys mostly secondhand items or things that have a history. How is it different from the more commercial select shops out there? A: We have assistants overseas that are on the look out for unique items. When we’re travelling we are always looking for one-of-a-kind items as well. We pick items using our own intuition and with the needs of the store in mind. Sometimes when we buy an item, we come back here and tweak it to our own style. Sometimes we buy it and don’t re-sell it, unless a client is really in love with it.

Q5:

How did you come up with the name, HOMEWORK? Is it because you wanted a homey feel to it? A: To us it’s an easy to remember name. The idea behind it is that you must always finish your homework in order to play. Everything has to do with the home. Much like our space, it’s like your house, and the things we carry are useful things you can buy for your home.

Q6:

What’s the merchandise selection process like for you? A: When I’m choosing items I often use my imagination. I once saw a quote in an antique shop overseas that read, “we buy garbage, but we sell you antiques”. This kind of thinking is a lot like us. We buy stuff you don’t want, but then we clean it up, and transform it into something that we like. Then if you like it as well, we sell it to you. Alot of the items increase in value after our transformation. It’s a simple idea actually, but it’s less seen in Taiwan. I find things in Taiwan lack a type of quality. Like this rug. When I bought it it looked good, but seemed to be missing something. So, I added a handle to it, and now it looks completely different. I like working with local tailors and carpenters to create things that we love.

Q 7:

There’s alot of vintage items in your store, but someone without a knowledge of antique items might not be able to understand it. Is there any specific item you’d like to introduce to these people? A: I’m not sure whether or not people understand our merchandise. But I do know that our clients tend to have an unique sense of aesethetics, compared to others. People who come in have an interest in vintage items. Our store is tucked away in a small alley, so foot traffic isn’t what we depend on. We welcome everyone to come explore our store.


96

Q8:

Besides assistants overseas who helps you pick out things, where else do you go to find items? A: Usually we pick out items when we are travelling. There’s no specific location really. We don’t really run HOMEWORK as a store, but rather a workshop. It’s also a space for me to hold all my collectibles. So there’s less pressure because it’s like a hobby.

Q9:

Each artist goes through phases in their creative journey where they prefer certain styles of work. What phase are you going through now? A: A while ago I was infatuated with camping. It’s mainly because when you’re outdoors you feel this connection with the innate human need. When you’re out there in nature you need to be able to adapt and combat any situation. Thus I’ve created couple items that are related to camping.

Q10 :

In your designs and creations, is there a specific item that stands out to you?

A: I recently created this leather stool. It’s an inspiration I obtained through my travels. I saw a similar design overseas, and thought that I could do something similar. It turned into something that I’m very happy with.

Q 11:

What’s your interpretation of TIME & SPACE?

A: People often ask me where I’d like to travel to? I’d always tell them, I’d like to travel to the 70’s. Travel back to the past, to a time before I was born. In Taiwan during that era, there were alot of talented artists, in architecture and in music. In our world today, there’s too much distraction. People are easily distracted, influenced, and too eager to show off their work. It’s hard to find things that excite the heart anymore, which is unfortunate.



Crisscross

98 Photography / Jackson Chiang Photography Assistant / Simon Sandor Make Up & Hair / Mu Jou Lin Model / Franciska@ Face Model Management Special Thanks / Sorapol London, Aria Hotel Budapest

交

éŒŻ


Our Fashion, Our Style


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布達佩斯, 一座古老的城市交錯著不同時空的回憶 每個角落都可以把你帶走・・・ 遠方到底是何處?


Budapest, an ancient old city crisscrossed with memories from different times. Each corner can take you off, off and away... Wherever far away is.


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如果平行宇宙是真的 也許我們的空間一直都是交錯的


If the parallel universe did exist, perhaps we've always been crisscrossed, in varying times and spaces.


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在宇宙中許多星系正在走動 在80億年的未來,銀河系將與仙女座星系交錯 似乎上天注定


The universe is in motion. Galaxies moving. In 8 billion years our Milky Way is on its way to merge with Andromeda. It’s planned in destiny.


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圖 ASH / 文 VAN

好氏研究室成立於2006年。在2009年-2012年前往北京發展,期間除了進行品牌塑造與教育 的工作以外也實驗性的成立自己好氏的品牌商店,2013年返回到台北同樣的進行雙向工作, 從親身的空間經營去切入市場再分析反饋經驗給客戶端品牌規劃服務。


Master Interview

G O OD DE S IG N I N S T I T U T E

好氏品牌研究室 室長

陳 崇 文 Va n


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Q1:

好氏品牌研究室除了是設計工作室、是選物店、是咖啡聽,他還是什

麼? 希望好氏品牌研究室是什麼? 我們希望他是一個風格的體驗品牌,因為在台北很容易每家店看起來都很類似。好氏在空間 上每一季都會進行變化之外,在形象上也有自己完整的視覺系統,在商品上目前積極的規劃 研究室商品,在行為上未來計畫從事較有趣的移動計畫。

Q2:

好氏品牌研究室的經營理念是什麼?

在品牌規劃的業務上,我們都希望用風格去進行所有的設計規劃。而在自己的空間裡,也是 每一種不同風格的體驗,從商品的選擇,音樂氣氛的挑選,空間的視覺調整。如果能靜下心 來感覺,其實我們還蠻前衛的。

Q3:

好氏品牌研究室除了幫客戶量身訂造全新的設計之外,有沒有什麼是

想要透過設計傳達給大眾的。 應該就是不同風格的可能性,我們習慣去排除市場上既定的視覺印象,而去實驗另一種新的 發生,當然從識別、商品、形象、空間到企劃,整體的呈現是我們比較堅持的原則。

Q4:

覺得好氏品牌研究室與一般的設計工作室最不同的地方在哪裡?

我們在從事規劃之前會表達希望能直接與最大的決策者碰面與溝通,這樣比較能夠理解業主 實際的美感範圍跟真正的經營思考是什麼,再進行長時間的了解與交流,甚至於業務的拓展 與市場的開發都讓我們參與進去,然後每一個委託的客戶幾乎都跟我們變成朋友,這大概也 是好氏的魅力吧。

Q5:

好氏品牌研究室的整體風格以及coffee環境空間有一種特殊的實驗室獵

奇氛圍,是什麼原因想要營造出這種感覺? 其實早在五年前,我們在北京的空間就已經以我們的品牌調性去進行自己空間的設定了,而 在三年前回來臺灣的時候,這樣的風格市場上仍然是沒有的,所以就想作個不一樣的嘗試。 應該很高興也越來越多品牌嗅到這樣的氛圍,進行調整,讓台灣不會只有工業風存在。


Master Interview


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Q6:

好氏品牌研究室觸及的範圍非常廣泛,除了研究、設計還常舉辦講座與課

程,為什麼會想要進行相關的座談活動?是想要教育客戶與消費者還是有更多想法 要傳達? 我們早期進行了幾十場品牌規劃的工作坊還有提供品牌診斷的服務,目前也定期持續的到全台灣 去進行品牌規劃的課程跟交流,因為光靠設計去改善這塊土地,依我們比較主觀的想法覺得太慢 了,實際的去接觸消費者,客戶端,讓他們能夠理解跟接受較為不一樣的風格跟美感,這可能是 我們想要改善這塊土地比較積極的部份了。

Q7:

好氏品牌研究室常與其他品牌或藝術家進行選物合作,其合作的目的與選

擇的標準是? 應該是獨特性跟可以調整的可能,因為台灣市場其實很小,台北更小,所以大部份的品牌其實通 路上很容易到處都是,所以我們比較傾向可以進行討論跟產生新行為的獨立品牌,不過台灣品牌 進行兩年之後 我們慢慢往國外去尋找合作了,而漸漸的我們發現自己可能不像一家店,比較像一 個獨立的空間,因為每一樣產品都會跟著發生一個行為跟氛圍,這也是未來期許自己的。

Q8:

好氏品牌研究室在大陸與台灣已經成立一段時間了,經營過程中的可有發

生趣事可以與我們分享? 以設計業務來說,中國客戶比較開放,他們幾乎不會更改設計,他們總是希望每次都可以提供沒 有見過的規劃。台灣客戶相對的保守,每次提案的提案溝通,要花比較長的時間去引導跟提供安 全感。以商店來說,中國的客人,只要是新的品牌商品,只要是品質夠好,他們通常不會猶豫會 進行消費,台北的客人,對於沒有見過的商品,會保持觀望的態度,尤其是品牌知名度不夠高的 話,他們就要一段時間去認識跟理解。


Master Interview

Q9:

好氏品牌研究室對於目前台灣設計產業環境與發展有什麼想法?

如果說品牌部份,台灣其實已經有在慢慢進步了,從我們進行設計服務的角度去觀察,可能是 比較客觀的視角,台灣的商業美感都是從觀望到發現到模仿這樣的一個進階,只要某一個業態 一個品牌紅了很快的就會出現其他很類似的風格出現,而等到大家都很像生意不好了,就會再 有一個品牌跳出來去做不一樣的改變,然後其他人再跟著觀望到發現到模仿群聚式的前進這是 台灣一個品牌發展很有趣的方式跟狀況,但缺點就是,每家店都長得很像,商品很像,行銷方 式很像,氣氛很像,設計很像。

Q10:

好氏品牌研究室未來的方向與目標是?

目前其實已經在計畫接下來的品牌發展,可能會開設其他的業務型態,但是教育會希望是每個 業務型態的基底,可以除了消費以外還能提供更多的養分給這塊土地上的人們。而當然比較特 別的獵奇風格是一定會存在的。 大家未來見吧!!


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Good Design Institute (GDI) was founded in 2006. Between 2009 and 2012 GDI was primarily based in Beijing, where they offered design and branding services. During their time in China, they also operated an experimental concept shop where they introduced many Taiwanese designers to the Chinese market. In 2013 GDI moved back to Taipei and created a space that has become a “style experience� for consumers and includes a coffee shop, design studio, and retail store.


Q1:

Besides being a design studio, retail store, and coffee shop, what else does Good Design Institute stand for? We hope that it is a brand that symbolizes a “style experience”. In Taipei, alot of the stores tend to look alike. At GDI we focus alot on changing the interior of our space each season. Branding wise we also have our own complete and unique image. We are also currently developing various experimental-design products, and also plan to do more fun and interesting pop-up events.

Q2:

What’s GDI’s business philosophy?

Branding wise we always like to focus on developing a “style” , and go about it from that perspective. When it comes to our own space, we consider ourselves quite avant-garde. From our product list, to the music we put on, to our interior design, we have our own style.

Q3:

GDI helps clients with their branding and design needs. What other messages do you wish to portray through design? Probably just the possibilities of different styles. We’re used to going against market trends and stereotypes. We like to experiment with new possibilities. Ofcourse, our principle is to create a cohesive brand for our clients, from the planning, execution, to the products, space, and branding, we always have the brand’s style in mind.

Q4:

What’s the biggest difference between GDI and other design studios?

We always like to meet the top decision makers of our clients because then we can straight-forwardedly understand their beliefs and see what they like and don’t like. We often participate in the market development or business expansion of our clients because then we can truly understand the entirety of their business and their needs. We always become great friends with our clients. I think that’s the charm of GDI.


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Q5:

The GDI style and your coffee shop has this “laboratory” essence to it. Is their a specific reason as to why you wanted to give people this kind of an atmosphere? Actually five years ago, our space in Beijing was already designed to embody this atmosphere which is essentially our innate style. When we came back to Taiwan, we found that there wasn’t anything like it, and so we wanted to create something different. We’re quite happy that many different brands are catching on to this type of style, because we hope Taiwan can bring about more than just that industrial style and vibe.

Q6:

GDI does alot of research work and also holds alot of seminars and workshops. What made you want to do all this?

In the past we did alot of workshops focused on branding. We still hold alot of courses on marketing and branding. We subjectively think that using design to improve our country is too slow. We believe that reaching the consumer, the businesses, and letting them understand and accept different aesthetics and ways of doing things, is a much more proactive way to contribute to our society and the land that we live on.

Q7:

When GDI is looking to carry various brands or feature certain artists in your shop, what criteria do you look for? We look for its uniqueness and its moldability. The Taiwanese market is very small, and Taipei even smaller. So it’s very easy to see the same stuff everywhere. Thus we lean towards working with independent brands that are open to communication and have an open mind. We’ve now gone overseas to look for different brands and products. We’ve slowly realized that we’re not really like a shop, but a co mbination of individual spaces because each item that we carry has its own unique display and mood.


Q8:

GDI has worked in China and in Taiwan. Any differences or interesting stories to share with us? With our design work, our Chinese clients are comparatively more open minded. They rarely change what we offer them. They’re always hoping for something they’ve never seen before. Taiwanese clients on the other hand are alot more conservative. We spend more time explaining our designs. As for our shop, Chinese consumers aren’t hesitant about supporting new brands as long as the quality is up to par. Whilst Taiwanese consumers are more weary of brands they’ve never seen before. If the brand is not well known, they may choose to take more time to understand the brand before purchasing.

Q9:

When it comes to design, what do you think about the present environment in Taiwan?

When it comes to branding I think Taiwan has improved tremendously. We are more objective because we see it from a design point of view. What we’ve noticed is that Taiwanese still like to copy anything that’s successful, and what you’ll see is that a whole bunch of similar concepts or stores will pop up at the same time. When business starts to slow though, you’ll see another brand jump out and do something completely different. And then you’ll see a bunch of copycats pop up again after that. This is the interesting way that we’re sort of moving forward. The downside to it is you see alot of stores looking the same, and brands carrying the same types of products, marketing it the same way, etc.

Q10:

What’s the future direction of GDI? Any goals?

We’re looking to expand our different product lines. Though education will still be the fundamental quality behind each new business venture. We hope that besides consumption, we can do something meaningful for Taiwan. Our adventurous style will always be around.


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RESEARCH IN THE JUNGLEA STORY OF TIME 叢林中優雅的獵奇研究一個時間的故事

Creative Director VAN Photographer ASH Hair 凌乃 Make Up NOREEN WU Model DAISY YUPING WANG Special Thanks B.A.B RESTORE / GOOD DESIGN INSTITUTE


Master Interview


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在19世紀初,科學家在樹洞中鑿了一間研究室,這是個介於時空縫隙間的灰 暗地帶,外界的一切都無法干擾的灰色地帶。

無盡的時間裡,她沉迷于各種課題,時間、靈魂、生命等等。回過神,帶著 研究成果返回城市時,當年的街景都已經消失,人們談論的是Art Deco以及 大爆炸理論,這才驚覺已經過了一個世紀的她,慌張跑回樹洞中。再次探出 頭,卻來到了80年代臺北街頭,音樂播的是鳳飛飛,人們趕著上舞廳。

這樣往返幾次不同的時間、地點,研究室開始堆滿了各個時空的物品,樹洞 內也漸漸被植物侵入占滿。雖然可以隨意在時空之間來回,卻怎麼也無法回 到開始的年代,無法回想起當時的街景、氣氛跟話語,甚至連至親的長相也 變得模糊。 在無盡的時間裡,鮮花不會凋零、屍體不會腐敗…時間的流動也就好似靜止 了般。或許這是永恆的生命,也或許是永恆的死亡?科學家想不明白,就自 顧自的在各個年代間搜集記憶的碎片,自我認同的碎片。穿著西裝卻光著 腳、用科學的方法解釋宗教信仰……在矛盾以及空無之間遊走尋覓著…… 其實我們都曾經在路邊碰見她,總是有點不合時宜卻是典雅的獵奇博士。


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Master Interview


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TI ME I S R E L AT IVE


In the 19th century, a scientist created a secret research room inside a hollow tree. This became a grey area, not constrained by the elements of time and space. An area not interrupted by the outside world. With infinite amounts of time on his hands, She became addicted with studies on the human soul, life, and time itself. She spent many years in the tree, but one day when she finally decided to leave the tree, She was hit with reality shock. People she met were talking about Art Deco and the Big Bang. She suddenly realized that she has missed out on an entire century of time. Frantically she rushes back to the hollow tree, to where she felt safe. There she stayed for a long while. One day she decided to finally step out again, but she comes to the quick realization that time is different once again. She has arrived in the 80’s and Taipei in the 1980’s was brimming with music, dance, and Feng Fei Fei. Suddenly she has an epiphany. Though her travels through time and space, has allowed her to accumulate a bunch of “stuff” from different centuries, her beloved hollow tree has aged and has become covered with moss and leaves overtime.Though the tree has allowed her to travel in between time, it cannot bring her back to any specific era. Her memories of certain streets, or the appearance of loved ones has become blurred. The scientist realizes that with infinite amounts of time, flowers don’t wilt, bodies don’t decompose…it’s as if time has stopped all together. She thinks to herself that perhaps this is what eternal life looks like. Or maybe, it’s eternal death. She couldn’t understand why her memory was lost and did everything she could to bring it back. She began to collect pieces from here and there, from various eras. Picking up pieces that she felt were important. Very quickly she became a wanderer searching for meaning in empty spaces. She was like someone walking in between contradictions, or someone wearing a suit with bare feet, or someone trying to decipher religion using science... Perhaps time has a role in keeping things in order. A role in keeping us sane.


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Behind The Scene


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HOTEL

V


ABOOK’s Picks

圖 Kuan / 文 Hotel V

HOTEL V位於台北東區,是一間具有飯店外觀的時尚精品選物店。他們將一個虛幻 的精品旅館空間概念,實際打造成為一間複合式的實體概念店,店內每一個空間以 不同的顏色及風格分別獨立展現其特色;但又同時符合整體的風格與調性。藉著精 品旅館的經營概念以及複合時尚品牌,提供一個享受架構個人品味的私密空間與購 物樂趣的場域。

目前HOTEL V以男裝為主並以中性風格的女裝為輔,品牌充滿多元性、獨特性,每 件商品均富有豐富的搭配性,立體展現各個品牌精神與特色。HOTEL V整體強調實 穿概念與個人品味,除了流行精品,同時也高度關注新銳設計品牌,期待這些具有 潛力的新銳設計師作品,為形塑個人風格,提供參考標的與方案。 其以精品旅館為發想的空間風格,提供一個可以讓消費者放慢步調,好好思考,以 尋找任何一件真正需要的好東西,同時不被打擾的賞物氛圍。

HOTEL V並非以高單價時尚精品店為號召,也不是一般印象中的街頭潮流店,他本 身就是一個品牌,有別以往的複合式概念店,代表著一種新的感官消費體驗。裝潢 風格特殊時尚,商店形象概念強烈前衛,引進的商品兼具實穿、質感與時尚,每每 讓人流連忘返。


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Hotel V is a select shop situated in Taipei’s East Side. Aside from having an extraordinary decor, their products are of great quality, and are wearable, fashionable, and affordable. Their business concept is like that of a boutique hotel, but they’ve tweaked it into a select shop offering its customers a private and fun space to search for items that will add to their individual style. Hotel V’s merchandise is primarily targeted towards men. They follow new and up coming designers that offer a new interpretation and new ideas of what personal style is.



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ABOOK’s Picks

Eileen Mao Mixed-Media Artist Eileen Mao是洛杉磯的複合媒材藝術家與插畫家,他在13歲時隨家人從台灣搬到加州。2016 年畢業於南加州的Art Center College of Design。他的作品經常在探討美的概念,同時不斷挑戰 觀眾對美的看法,他對奇妙的題材總是充滿興趣,並且不限制於特定的時空環境。 Eileen Mao is a mixed-media artist and illustrator based in Los Angeles, CA.. She moved from Taipei, Taiwan with her family to Southern California at the age of 13 and graduated from the Art Center College of Design in 2016 with a BFA in Illustration. Eileen’s work frequently deals with the idea of beauty, challenging viewers to question if what they see is beautiful or ugly, and whether or not there is something appealing and heart-felt within the hideous. She is endlessly interested in subject matters that are sincerely bizarre and aren’t constrained to a certain time or space.

女象人 創作這幅畫的靈感一開始是從David Lynch的1980年電影《象人》 而來,所以稱之為《女象人》。我想藉著它來表達人會老化的必然 性,所以特別加強了大象臉上的紋路。圖中,象的臉被接在一個女 人的軀體上,而她穿著一件優雅的晚禮服。這女人對自己的愛與驕 傲反映在她的姿態、和她選擇的穿著。這兩項優點一直支撐著她古 怪多變的自我,帶著她走過生命的起伏,漠視其他人異樣的眼光。

Elephant Woman This piece was originally inspired by The Elephant Man (1980) by David Lynch, thus the name. I wanted to address the inevitability of aging, by emphasizing the wrinkles on an elephant’s head. It is juxtaposed on the figure of a woman, who is dressed in an elegant and body-conscious gown. The subject’s self-love and pride are reflected by her poise as well as her choice of frock. Those qualities have carried her quirky self through the markings of time and the changing tides of life, in disregard of the views of others.


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旅行者 畫裡的女孩獨自地站在她自己的空間裡。她穿著一件像和服的短 袍,後方多層的布料有著抽象形狀,相似於綁束和服的腰封。這 些層次象徵著一個人在生命中所累積的精神與物質包袱。女孩願 意放棄與保留多少,決定了它們的重量。同時,被她選擇後保留 下來的一切,若是好的,會成為她美麗的裝飾,而不是累贅。

Traveller The girl in the image stands alone in an isolated space. She is dressed in a kimono-like robe, with layers of abstract elements that resemble various obi-bows. These layers symbolize the emotional and physical baggage one accumulates through life. Its weight is dependent on what she’s been willing to abandon and keep. Simultaneously, the chosen remnants can actually be adornments for her presence, rather than things that weigh her down.

紗 被一層紗蓋過的眼睛代表著失明,還有對某些人事物的盲目。這 張圖表達的是選擇性盲目帶來的體驗 : 過濾掉眼睛可以輕易看到 的一切,得到新的發現。

Veil The veil signifies literal blindness as well as disregard for the physicality of people and things. This image describes the experience of discovery through filtering out what the eye sees. Things that weigh her down.


Rosemary 一個女人的畫像。以壓克力顏料乾刷上紙 的印記相似火焰,象徵著時間的考驗,也隱 喻女人對生活熱情的態度。在她平靜的姿 態中,她的眼神堅決的看向遠方。這幅畫 的畫名來源於Roman Polanski的《失嬰記》 (“ Rosemary’sBaby”) 。Waterfall

Rosemary A portrait of a woman. The dry-brushed marks indicate fire, metaphorical for the tests of time as well as her fervor for life. In a relaxed composure, she looks adoringly and firmly at a vision. The title is also an homage to the Roman Polanski film Rosemary’s Baby (1968).

瀑布 有著黑暗色彩的夢境。在夢中,我看到自己坐在一 片廣闊的綠草中。對面是一個大瀑布,其中有好幾 個詭異的旋渦不停地轉。落水聲很大 ; 草地像是充滿 了露水,被濺出的水沾溼了。高大的綠樹密集的圍 繞著,像是一道墻,將我原本的生命阻攔在外。那 一片刻中,我忘記了恐懼,專注看著這片景色。侵 略性的瀑布不停的層疊下墜,大樹們寂靜的站著。 一個生疏奇異的片刻凝固在我腦海中。

Waterfall A dreamscape with a dark undertone. I saw myself situated in a vast field of crisp grass with a frontal view of a waterfall that strangely had vortexes twirling within it. There were loud splashing sounds coming from the waterfall, and the grass was adorned with glistening drops of water. The surrounding trees seem to be barring me from my old life. I remember just being entranced by the view, the aggression of the water cascading down versus the tall tress that stand still next to me. A moment of a surreal space frozen in time.


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一個理念可以帶你環遊世界 吳建衡 Ed Wu


ABOOK’s Picks

圖 吳建衡 / 文 Annie

對於吳建衡Ed Wu來說,他從來沒有想過要成為一位

他在印度與三太子旅行的照片引起當地媒體的注

攝影師或是紀實攝影師,然而藉著紀錄“三太子”

意,然後他接著前往肯亞,衣索比亞,巴西,瓜地

的拍攝,他不但旅行了72個國家,更出了一本書。

馬拉,多明尼加共和國,柬埔寨,緬甸,韓國,等

這一切的發生都來自於一個想法。

地,旅行的同時向世界介紹台灣與三太子。

他在2011年任職於一些跨國公司,但對於自己的

他在世界各地的故事很快就傳回台灣,突然Samsung,

未來常覺得有些空虛,他不確定自己要的是什麼,

全聯和Lexus等公司都想贊助他,然後整個計畫就從

他總是單純的希望能自己能自由地去發展而不是被

這邊開始。他在2014年出版了自己的旅行紀錄《

社會價值或工作綁住。

台灣三太子出巡囉!熱血壯遊72國》。現在他人在

於是他想到拍攝三太子這個主意,他希望藉由帶著

巴基斯坦,我們與他談到他目前的計畫,藉此我們

三太子一起旅行能將三太子與台灣介紹到世界各

可以期待他接下來會為我們帶來些什麼。

地。他自己租借相關服裝與裝備,準備好前往印度 的旅費就直接出發了。在旅程中三太子成為他的朋 友、夥伴與繆思。


136

記實攝影是什麼?對你來說它有什麼意義?

你去過許多所謂的冷門國家。為什麼選擇去

我認為社會對於紀實攝影的定義,每個人都會有自

這些地方?

己的想法以及詮釋,對我自己來說,我希望透過紀

19歲的時候我自己到紐約跟波士頓旅行,的確看

實攝影,來講出一些需要被社會知道的故事,或是

到燦爛生活的一面,也體驗到很多夢想中看到的球

提醒這個社會注意一些被遺忘的角落,也希望透過

賽,以及期待看到的景點。可是回到台灣後,沈靜

照片,為一些地方平反、給他們替自己述說故事的

了一段時間,我發覺自己好像沒有什麼太大的改

機會。

變?因為在這趟旅行中所體驗的事物,其實都是在 電視、電影上常常看到的,沒有什麼太多意料外的

如何踏入攝影這個行列?

事物。

從小到大我從來沒想過我會進入攝影這個圈子,因 為小時候在學校,對於任何美術、勞作相關的課

我開始想,花了那麼多錢,難道這就是旅行的意義

程,我總是完全沒有興趣,也很難在這些課程上表

以及所能帶來的收獲嗎?

現得好。 反而是在20歲自己再到了北京跟上海,才發現這些 直到我24歲在國外執行三太子的影片專案時,發現

地方有著我從來沒有想像過的事物以及人,從此我

自己必須提升自己的攝影技能來說故事時,才開始

就喜歡到自己不熟悉的地方旅行。

使用相機,慢慢對攝影產生認識與興趣。


去過的國家當中,哪裡讓你印象最深?

太子,是神明,在當地一定會被排斥或著警察找麻

雖然這樣說有點老套,但是印度算是一直佔據在我

煩,但是其實當地人根本不知道這是跟宗教有關的

心中非常重要的一個國家,我甚至還帶了我女朋友

裝扮,還有伊朗人指著我的三太子問,這是不是美

一起去印度旅行,就是想讓他體驗看看印度有趣的

國總統歐巴馬?

地方。 檢視三太子這趟旅程,我相信上天默默地在幫助 印度大部份的人都窮困,可是卻對自己的土地、信仰,

我,我理解到只要你是真心誠意想要完成一件事,

有最大的認同,也總是能樂觀得面對每天的生活,所以

宇宙中自會有一股力量推著你前進

印度的旅行經驗總是帶給我相當美好的回憶。

你現在人在巴基斯坦。在這裏有什麼計劃? 而我也到了伊朗跟巴基斯坦,人們口中所說的邪惡

這次到巴基斯坦有一個主要的photo essay,就是拍攝

軸心、恐怖份子基地,但其實這裡的人們比所有地

有關當地教育相關的議題,因為我從馬拉拉(Malālah

方都還要熱情跟好客,因為他們信仰中的其中一個

Yūsafzay)的故事上了解到,原來女孩子在巴基斯坦

教條就是,任何遠道而來的朋友,都必須把對方當

上學,會受到相當多的困難以及挑戰,因此我從這

作是真主來對待。

個角度發展,希望去藉由拍攝去了解巴基斯坦的教 育環境。

所以對我來說,不只是在這裡有相當美好的經驗, 也因為如此,也更想在這些土地上用相機發掘故

我會拜訪幾所學校,有私立,也有專門為沒錢上學

事、述說故事。

的小孩所設置的露天公園小學,我會問這些小朋 友,那本書是他最喜歡的書?從這本書上得到什麼

你帶三太子遊世界的時候很多媒體有報道。這

啟發?而教育對他本身的意義又是什麼?由於在巴

個想法是如何開始的?有什麼有趣的故事嗎?

基斯坦也有相當大程度的貧富差距,所以同年齡的

在大學的時候,去過幾個地方旅行也在美國打工,

孩子,所能閱讀書本、資源,都會有相當大的差距。

發現很多人不知道台灣這個地方,那時候其實很羨 慕日本、韓國、泰國各地的朋友,都可以輕鬆的向

而這個專案還在進行拍攝中,之後會整理出更完整

外國人介紹自己的家鄉,可是相較之下,很多人就

的訪談內容。

對台灣相當不熟悉,所以在某個靈感之下,才想到 要用這種不一樣的方式去讓更多人知道台灣。

去任何地方之前會做什麼功課? 我會做蠻多的資訊搜集,像是當地的治安、交通、

有趣的事情很多,像是在印度,當地人本來就喜歡

住宿選擇,因為對當地的環境了解越多,遇到危險

形體化的神祇,所以我帶著三太子所到之處,必定

的機會就越少。

收到熱烈的歡迎。

但當然也有一些地方是幾乎沒有資訊的,就只能人

我也帶著三太子到過伊斯蘭的國家,像是伊朗,出

到了當地,再隨機應變,跟當地人溝通,請當地人

發前很多台灣人都擔心這是我們的道教文化,是三

協助。


138

心理準備的部分,其實之前在23、24歲的時候, 我要去什麼特別或危險的國家,我通常沒有什麼特 別的感覺,或許是因為那時候不斷得在旅行,所以 心態上一直保持在hyper的狀態。

但是這次出發巴基斯坦,因為其實已經將近兩年沒 有出遠門了,加上去的又是資訊特別少的國家,又 想到自己年紀不小了還在整天做這些有的沒的事 情,然後爸媽年紀也大了,就會想得很多,有點憂 愁善感,哈哈。

你的記實攝影似乎讓世界的邊界模糊了讓 一切都皆有可能。你對於時間與空間有什 麼感觸? 我很喜歡一句話:『人們會感到懼怕,是因為對該 事物的不瞭解』,之前我到過一些國家,像是海 地、墨西哥、布吉納法索,在前往之前,我也會擔 心當地的治安,擔心被搶,可是到了當地之後,才 發現當地人是我前所未有見過的友善與好客。

從此之後,我不斷告訴自己,要自己親身經歷,才 可以對某些事物下評斷,不可以因為別人所說的偏 見,就對一些事物有成見。

所以空間對我來說,只要自己的心態開放,願意去 接納所有遭遇的事物,那空間對我來說,就是沒有 限制,no boundary。

巴基斯坦後有什麼計劃? 巴基斯坦結束之後,我將前往阿富汗的首都卡布 爾,阿富汗的資訊也是相當稀少,所以實際的狀 況,可能也要等我到了當地,才能告訴大家了!

- end


ABOOK’s Picks

AN IDEA CAN TAKE YOU AROUND THE WORLD Ed Wu


140

For Ed Wu (吳建衡) he never thought about being a photographer, nor a photojournalist. But by chance, he had the opportunity to travel to over 72 countries documenting the iconic Taoist deity, “The Third Lotus Prince 三太子”, and even got a book deal out of it. How did this all happen? It all started with an idea.

Back in 2011 Wu had already worked and interned at numerous multinational companies, but somehow he still felt an emptiness inside. Not knowing exactly what he wanted for his future, he purely hoped for the freedom to explore his opportunities, and to not be tied down by any social expectation or job.

Wu came up with the idea of photographing “The Third Lotus Prince” and decided to embark on a journey that he hoped would introduce Taiwan to the rest of the world. He rented a costume, paid for his own trip to India, and took off. The Third Lotus Prince became his travel buddy, his partner, and his muse.

Photographs of his journey in India started garnering local media attention. He then travelled to Kenya, Ethiopia, Brazil, Guatemala, the Dominican Republic, Cambodia, Myanmar, Korea, and so forth, introducing the Taiwanese deity to the world. Photographs of him and his muse quickly resonated back to Taiwan, and the entire project took off. Suddenly Samsung, Pxmart, and Lexus all wanted to support Wu and his endeavors. He subsequently got a book deal and in 2014 his book 《台灣三太子出巡囉!熱血壯遊72國》was published. Two years later, Wu is now in Pakistan, and we spoke to him about his current trip and what we can all expect to see next from his travels.


What is photojournalism? What does it

You’ve travelled to places off the beaten

mean to you?

path, why these cities?

I believe that everyone has his or her own interpretation

When I was 19 I travelled to New York and Boston, and had

of what photojournalism is. To me, I just hope to tell the

the chance to go to my first baseball game, and experience

stories that need to be told. I hope to remind people of

the cosmopolitan city and all of its dreams and glamour.

those forgotten corners around the world, to give them a

However when I returned to Taiwan, I started feeling an

chance to tell their story, and maybe bring out some small

emptiness inside, because it downed on me that what I

form of vindication for those who we are so quick to judge.

saw and experienced in the States was pretty much what I saw in the movies or on TV. It wasn’t anything unexpected

How did you get into the field of photogra-

or out of the ordinary. I started to wonder about the true

phy?

meaning of travelling and going on vacation. Why did I

I never thought about being in the photography industry.

spend so much money to go somewhere that didn’t sur-

In school, I was never that interested in the arts or any-

prise me?

thing related to it. It wasn’t until I was 24 when I was in India working on the “Third Lotus Prince” project, did I re-

When I was 20 I had another opportunity to travel to Bei-

alize the importance of photography in telling stories, and

jing and Shanghai. I found that these cities embodied peo-

thus began to develop an interest in the camera.

ple and things that I had never known or imagined. Since then, I became addicted and became inspired to travel to places that weren’t so familiar to me.


142

Out of the places you’ve been to, which one has left the deepest mark on you? Why?

just thought of this unusual idea to hopefully introduce Taiwan to the rest of the world.

Though it’s kind of cliché to say this, but definitely India. I even took my girlfriend back to India after my project

Interestingly, when I was in India, The Third Lotus Prince

because I wanted her to experience all of the interesting

was very popular with the locals. I think it is because Indi-

aspects of the country.

an culture is already very accustomed to deities portrayed in physical forms or through costumes. In Islamic coun-

Most people in India are quite poor, yet they have this

tries such as Iran, many of my friends were worried about

profound appreciation for their land and for their faith.

a Taoist deity being rejected, or even worse, causing un-

The Indian people to me live every day with such positivity,

wanted attention or trouble. But in reality it was quite the

that it has had an impact on me and created wonderful

contrary because Iranians had no idea that what I brought

memories that I will forever remember.

with me was a deity, they just found the costume amusing and even asked me if it was a President Obama costume.

I’ve also been to Iran and Pakistan, and what I experienced was far from the stereotypes out there which see these

During my journey, introducing The Third Lotus Prince to

places as being terrorists or evil nesting grounds. People

the world, I believe some higher power was helping me

there were so friendly and eager to help tourists from afar.

and protecting me. I realized that if you are determined

Their faith teaches them to treat visitors with kindness

from the bottom of your heart, and believe strongly in

and hospitality. They have given me strength and deter-

your idea and purpose, then the universe will garner the

mination to tell their stories. I want to continue to use my

utmost strength to push you forward in the right direc-

camera to discover stories, to tell them to the world.

tion.

Your work bringing The Third Lotus Prince 三太子 around the world has garnered a lot of media attention. How did that idea come

You are in Pakistan now, what do you hope to see or achieve? This time around I am working on a photo essay where

about? Any interesting stories?

I hope to bring forth the issues surrounding education

When I was in university, I travelled to many cities and

in Pakistan. I was inspired by Malala Yousafzai, who is a

even worked in the States for a while. I discovered that

female Pakistani activist and Nobel Prize laureate, fight-

many people around the world hadn’t even heard of Tai-

ing for human rights in the region. Through Malala I was

wan or knew where it was. I was quite envious of Japan,

shocked to learn that girls in Pakistan faced many chal-

Korea, and Thailand because everyone knew where these

lenges when it came to getting an education. I hope to

places were, but not Taiwan. So, out of nowhere really, I

visit different public and private schools in the country


to understand this issue. I hope to ask the chil-

that I’m a lot older now. I couldn’t help but to think

dren, what their favorite books are, what they have

about my parents, who are getting a lot older as

learned from these books, and what education

well, and question myself whether or not what I’m

means to them.

doing is going to be able to support them. I’m a lot

In Pakistan there is a wide gap between the rich

more sentimental this time around, haha.

and the poor. Children from different income families thus have different resources and I hope to

What does “time and space” mean to

discover what those are. I am still shooting and

you?

travelling around the country so I will have a more

I really like the saying “people fear things they

completed thesis and content when I am done.

don’t understand”. Before I went to countries such as Haiti, Mexico, and Burkina Faso, I too was afraid

Before you take off to a location, what kind of preparation do you have to do, both physically and mentally?

for my safety because of the stories I’ve heard. But when I actually got there, the people there turned out to be the friendliest people I’ve ever met.

Physically, I do a lot of research on local safety precautions, forms of transportation, and accommo-

Since then, I constantly remind myself not to judge

dation options. I believe that the more you know

before I experience or see it for myself. I cannot let

about a country, the safer you are. Ofcourse for

the words of others influence my own judgment.

some cities that aren’t your normal vacation destinations, it can be quite hard to find information.

So, space to me is allowing your heart to be

So often times I do have to wait until I actually get

opened. To accept everything around you and eve-

there, and talk to or ask for help from the locals,

rything that you experience. By doing so, there is

before I can get any kind of essential information

no such thing as boundaries.

about the place. Mentally, I think when I was 23 ,24, I didn’t really

What next after Pakistan? Which city

have much emotion or feel anything in particular

do you hope to travel to next?

before going off to a new or supposedly dangerous

After Pakistan I am going to Kabul, Afghanistan.

country. I guess it was because I was constantly

Obtaining information on Afghanistan is also in-

travelling at the time that I didn’t think too much

credibly difficult. So I will have to get there before

about it. But this time around, I must say that I’m

I can share my plans with you.

a whole mixed bowl of emotions inside. Maybe it’s

- end

because I haven’t travelled in nearly two years and


144

由於座談報名踴躍,藉由ABOOK MAGAZINE 28 期的發行,ABOOK 特別釋出保留名額25名進行抽籤,凡購買ABOOK MAGAZINE第27 期或是第28期的讀者,即可參加”林炳存『純粹』影像記事"講座名 額抽簽,請購買讀者e-mail至 remond1011@gmail.com 檢附 : 購買編號 / 姓名 / 電話,會統一在11月初進行保留名額的抽籤, 數量只有25名,動作要快! 11月底大師將親自講座教你如何運用鏡頭看見世界 !


From Readers


146

Photographer / Seen Lin Model / Lolo Chin g hsua n

他的房間。

那是她對於這個房間的情感與記憶, 只有她最熟悉幾點的光線會灑入床上的睡臉, 只有她知道照著那面鏡子哪個角度最性感柔美, 她 在他的房間想念 他。


From Reader


148

His room.


It’s her memory and emotions of this room. Only she knows when the rays of light will shine in on her face asleep. Only she knows the perfect angle of the mirror that will reflect the most beauty. She, is in his room, missing him.


150

Inside Out

Photography / 洪昀

擦身而過的偶然,使櫥窗內的靜止與櫥窗外流動的街道相遇, 兩個空間在同一瞬間合而為一。在香港這個快速移動的城市 裡,我嘗試在瞬息萬變的街景中捕捉流動的生命氣息。

This ambiguous physical space was formed in a single exposure. In a shared moment, the street merges with whatever is inside the window. These photographs take us to a new reality where you are not sure wehther you're looking inside or outside.


From Reader

影子裡的女人 Woman In The Shadow

她在影子裡面抬頭看著他,他是誰,只有海報裡的她知道。 She is there in the shadow, looking up at him. And what does he look like? Only she knows, the woman in the poster.


152

安 靜 的男人 Quiet Man

沉思的他們面對面,卻看不見對方。沈默的他們低著頭,卻都穿上了街道 的模樣。 Face to face, but they can’t see each other. Lower their heads in silence, they’re both wearing the face of the street.

無 頭 監視 Surveillance Of The Mannequins

櫥窗裡的假人即使無頭也打量著你,然後你一閃而逝的 消失在城市中。 Constantly looking at you, you feel the gaze even though there isn’t any. The headless mannequins watch you vanish into the city.


時 裝與垃圾

購買與丟棄無時無刻循環著 移動的人在流動的街 然後要往哪去

Sad And Fancy

Buying and tossing, my mind flows down the street, which way will you go? As the songs of consumerism keep on playing.

開 走 一間畫廊 Make Your Move

當畫廊開始移動 它會不會撞上艷陽下的你 而你始終向前 When a gallery truck starts to move, will it run over you? Under the sunlight, you make your move.


154

Lost In Time And Space 聚焦於迷途之人徬徨絕望中,聲嘶力竭地對希望、對理想的呼喚,而人活一世幾乎不可能避免類似的時刻,於 是人人都可以因為任何事情勾動任何回憶,對這件事產生共鳴,自覺或不可以自拔地回到記憶的現場再次成為 流浪者,再一次品嘗絕望,再次苦盡甘來而充滿力量。當你觸及不到的事情都是理想式的時候,可能理想的並 生活不存在,似乎只有理想才是最真實的當下及未來。


From Reader

Fashion Design / Jhih Yu Huang Photographer / Steve Lin (IMAGINE31) Make Up & Hair / Yu Fang Model / Yifen Hsu


156

Focus on the despair of the lost ones. Shouting towards hope, towards ideals. In our lives, we all experience this one way or another. Memories can be triggered via any event in our lives, bringing us back to those memories, a taste of despair once again. Perhaps things that you can’t touch become ideals, and that an ideal life does not exist.


From Reader


158

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