Design China

Wang Sijia

Sat, 18 May 2013 02:42:00 +0800

Wang Sijia is an illustrator based in Beijing. EightSix caught up with the artist to ask him some questions about practicing as an illustrator in China.

Could you tell us a bit about yourself, and how you ended up on the road to design?
My name is Wang Sijia, and I’m from Heilongjiang Province. After graduating from college in 2009, I moved to Beijing. When I was younger, I loved to draw and it all stemmed from there. I never thought about design as a career - I just did it at home because I enjoyed it, but this is how I learnt and became better. I love to paint and this has followed me throughout my life so far.

What does your design process entail?
I like to design what I am doing on a single page, with some small editing, before committing myself to a large mural. In my spare time, I often sketch out ideas and, if I like any of them, I will carry on in the evening before starting afresh the next day.

Could you explain your process when painting?
I improvise a lot - in these instances there is less paper planning. I like the freedom you get from working like this. There are no constraints.

Who or what inspires you?
It’s quite simple really: daily life and the internet. The internet has opened up my world and allowed me to learn a lot of new things.

You have completed many projects for large companies. Which are you most proud of?
A while ago, I did some work for Li Ning (a large sportswear company in China) and also I have designed skins for the Audi R8.

What do you think of Chinese design? Do you think cities like Beijing, Shanghai or Shenzhen will ever become known for design as, for example, London or New York are?
It is still in the developmental stage. It still needs time. Right now, the system is not perfect (with regards to design education) and there is a lot of disparity in China with many wider ranging issues. At the moment, we are still imitating most of the time. Many designers do not have their own style and their work is very similar to those of the West. All we can do is do a good job and work hard to improve ones own style.

Do you think you will remain living in Beijing?
For now, Beijing is great. There’s lots of opportunity and, if you seek work and collaborations, then you can achieve anything. Beijing is very diverse. Perhaps I will leave one day though. House prices are much too high!

More on Li Naihan

Sat, 18 May 2013 01:48:39 +0800

Beijing-based furniture designer Li Naihan is concocting some interesting, new collaborative works. Here are some fun snapshots from the designer herself.

More on NLGX

Fri, 17 May 2013 01:03:00 +0800

Beijing-based NLGX have just sent in these images of their newly-renovated store. The brand also released new tee designs last month, including a much needed ‘I ♥ Beijing’ set. More images under the cut.

Zhuang Hui x Arrow Factory

Wed, 15 May 2013 20:19:56 +0800

“The shocking pink and blue velour drapes that bifurcate Arrow Factory’s front window are the daytime manifestations of Zhuang Hui’s new work ‘No Title’. Each day at dusk strobe lighting behind the curtains comes to life, transforming these static colours into a mysterious yet silent disco lightshow, causing fleeting shadows to dance sporadically upon the windows. An experiment in pure visual abstraction, ‘No Title’ distills the colours and materials of vernacular culture to tap into a reaction that is purely physical and visceral”. Continue reading.

More on BJDW 2013

Wed, 15 May 2013 20:13:31 +0800

Beijing Design Week 2013 opened their call for applications this week. Completed materials are due 10 June 2013. Find out more.

More on Neri&Hu

Tue, 14 May 2013 20:06:00 +0800

Shanghai-based Neri&Hu, whom we interviewed for Icon magazine last month, have been incredibly busy of late with new architectural projects and product launches, including a recent renovation of a 1930s townhouse in Shanghai and a new range of wooden furniture for De La Espada in New York.

David Hu

Fri, 10 May 2013 00:59:00 +0800

Born and raised in the US, David Hu (Hu Yuwen) has lived and worked in Shanghai, Beijing, Taiwan and New York City. With degrees in both mechanical engineering and industrial design, David brings together strategic design, technical expertise and highly conceptual work to every project he undertakes, including those for multinational corporations such as Johnson & Johnson, Unilever and Diageo. EightSix recently caught up with the industrial designer to talk about his life, his influences and “Chinese design”.

Could you tell us a bit about yourself?
I was born and raised in the United States, but spent some of my childhood years in Taiwan. Growing up, I was extremely fortunate that my family was deeply rooted in Chinese traditions: my grandmother was a classical Chinese painter and my father was an avid student of Chinese literature and history. At the same time, I was free to embrace American culture and its sense of individualism and social equality. Although my father encouraged me to accept myself as a Chinese-American, this wasn’t always so easy. Now that I’m older, I see myself as 100% Chinese and 100% American.

When did you discover that you wanted to become an industrial designer?
Not until I was midway into my mechanical engineering degree. I followed my favourite subjects - maths and physics - into the engineering field. What I hadn’t realised at the time, however, was that my real love was in drawing and creating. I had spent so much time ignoring my true passion, that I almost missed it completely! Of course, I don’t regret studying engineering because maths and physics are very handy in my line of work.

Where do your influences lie?
My influences are quite scattered, perhaps because my own identity is a mixing pot of cultures. Still, I am most often inspired by the masters: Charles and Ray Eames’ chemistry and energy, Philippe Starck’s emotional and humanistic vision, and Kenya Hara’s seeming ease in finding the subtle and the unseen. I would be happy to achieve a fraction of what they’ve accomplished. But by far my biggest creative influence is my family: my late grandmother has given me a deep appreciation of life, and my parents, a sense of empathy and decency. These things really form the central motivation for my designs.

How has your work evolved over the past few years? Has it evolved at all in response to China’s rapid growth and a burgeoning global interest in Chinese design?
Although my work has now come to focus on Chinese design philosophy, its evolution actually had very little to do with China and its homegrown design scene. Not because I was disinterested, but because I had yet to find my own direction. Looking back, I think my work has been more of a reflection of the transitions in my professional and personal life.

I was looking for more purpose in my work when, out of curiosity, I began reading the writings of ancient Chinese philosophers. In them I found a source of inspiration that I felt truly aligned with - and not in a religious context. Even now, I’m only beginning to understand the teachings, but what’s surprising to me is the kind of correlation I found between philosophy and design. Even now my work is evolving as I read more, experience more and, of course, design more.

What are your thoughts about design education in China? Is it conducive to creativity and can you see it changing? What are your own experiences?
To be honest, I don’t know much about China’s design education system, although I’ve heard stories that seem to mirror my own educational experiences in Taiwan more than 20 years ago. That being said, I think many people - non-Chinese and Chinese alike - jump too quickly to the conclusion that creativity can only stem from a Western style of teaching and learning. Western culture is deeply rooted in the ideas of individual expression and fulfilment - the seeds of what we commonly define as “creativity”. But we must not forget that Chinese culture is also strongly rooted in individual fulfilment, except that it is defined by social stability and filial piety.

This, by logic, should simply infer the possibility of a different kind of creativity. In light of the social and economic upheavals that we often attribute to a few taking advantage of the masses, I would actually argue that a new creativity, motivated by a sense of duty to the common person and by a reverence to past and future generations, can serve the world even better. The true challenge for Chinese designers and design education is developing an understanding of “creativity” that is not simply a mirror image of Western culture, but rather one that is more authentic to Chinese identity.

What do you have planned for the future?
Perhaps when I have found a strong enough voice of my own I can - through writing, teaching or speaking - guide others with finding their own “Chinese design” voice. My hope is that my work will eventually bring more understanding and appreciation of Chinese culture - to both foreigners and local Chinese - in a way that sparks a genuine desire to shape a brighter future for China.

ARCHITECT@WORK China 2013

Thu, 09 May 2013 18:21:00 +0800

“ARCHITECT@WORK is an event exclusively designed for architects, designers and other industry-related professionals with a focus on innovation. The entire concept has been uniquely created by architects for architects”. ARCHITECT@WORK China will take place in Shanghai (27-28 June 2013 @ Shanghai Expo Center) and Beijing (5-6 December 2013 @ China International Exhibition Center). Find out more via China Design News.

China Graduate Fashion Week 2013

Thu, 09 May 2013 17:51:22 +0800

“The Central Academy of Fine Arts in Beijing has been grabbing headlines lately, first for playing host to the Dior Homme show in April and, more recently, for presenting an outstanding show at China Graduate Fashion Week 2013, raising the bar for the quality of work expected of this event series in the future”. Continue reading.

Images via Zimbio.

More on Yang Du

Wed, 08 May 2013 03:38:23 +0800

New looks from London-based Chinese fashion designer Yang Du.

China in Ten Words

Mon, 06 May 2013 18:45:00 +0800

China in Ten Words by Yu Hua is not a creative or design book per se, but it is “a good encapsulation of all that is contemporary China”. In other words, if you are interested in learning more about the state of Chinese design, then this is a good place to start.

Quotation source.

Suoran

Mon, 06 May 2013 18:21:35 +0800

Finding a good quality bespoke laptop or iPad case can, sometimes, be a difficult task. Thankfully, China-based enterprise, Suoran, come to the rescue with their unique range of understated, eco-friendly products that are, apparently, made of 100% natural wool felt. Visit their Taobao store for more.

If you do not reside in China, a selection of Suoran products can be found on Amazon too.

Ying Wang

Mon, 06 May 2013 17:52:57 +0800

Ying Wang is a promising graphic designer. The young creative graduated from Beijing Capital Normal University in 2009 with an undergraduate degree in Graphic Design, and works across an array of mediums - from packaging to logo design, posters and even app design. Here, we share some of the designer’s portfolio images.

More on Ray Lei

Tue, 30 Apr 2013 00:29:00 +0800

Beijing-based illustrator Ray Lei has just sent us details of an upcoming exhibition he will be taking part in (alongside collaborators Thomas Sauvin and Zafka); from 18-27 May 2013, Today Art Museum will showcase their new Recycled animation (sneak peek above). Ray Lei tells us more.

The following images “come from negatives salvaged from a recycling plant on the edge of Beijing, where they had been sent to be filtered for their silver nitrate content. Over the years, French collector Thomas Sauvin built an archive of more than half a million 35mm negatives, depicting the capital and the life of her inhabitants over the last thirty years.

From 2011 to 2012, Chinese artist Ray Lei selected over 3000 photos to create the [Recycled] animation…an almost epic portrait of anonymous humanity”. The animated film has won awards at Holland International Animation Film Festival 2013 and officially selected by Annecy International Animation Festival 2013.

More on Ubi Gallery

Tue, 30 Apr 2013 00:28:50 +0800

Head on over to Dashilar-based Ubi Gallery to preview their new May arrivals! Details via the False Flat news bulletin.

Droog Copies China

Thu, 25 Apr 2013 18:28:06 +0800

The exhibition has already passed, but the ideas brought forth are still very relevant:

“Dutch design collective Droog will turn the notion of piracy in China on its head by unveiling its own copies of Chinese objects in a Guangzhou shopping centre.

While Chinese companies and the government strive to shed their copycat reputation, The New Original project suggests that the process of imitation can be more than mere replication when small adaptations are made to the knock-off goods, potentially driving innovation.

Exhibited items will include a traditional Chinese teapot with a more robust handle, and an inverted Chinese restaurant where a fish tank contains the dining area”. Via Dezeen.

China Wood Sculpture Museum

Thu, 25 Apr 2013 18:13:30 +0800

“Chinese studio MAD has unveiled the first photographs of its icicle-shaped museum for wooden sculptures in Harbin, northeast China. Nicknamed the Ice City, Harbin experiences regular snowfall…MAD designed the China Wood Sculpture Museum with a twisted 200 metre-long body modelled on the shapes made by frozen liquids. Plates of polished steel clad the exterior of the building and are only interrupted by curving strips of glazing that form windows, skylights and a central entrance”. Continue reading.

Taiyuan Museum of Art

Tue, 23 Apr 2013 23:02:08 +0800

“Cambridge-based architect Preston Scott Cohen has shared exclusive images with designboom of the nearly completed Taiyuan Museum of Art in the Chinese province of Shanxi. The architecture is a responsive composition of the [site’s] urban greenery…and encourages seamlessness between public and private space. The group of buildings is a network of continuous and discontinuous promenades that create a veritable architectonic landscape”. Continue reading.

See also the architect’s Datong Library, currently under construction.

NEEMIC

Sat, 20 Apr 2013 19:24:19 +0800

Initiated in 2011 by Amihan Zemp and Hans Martin Galliker, NEEMIC is founded with three main visions at heart: to create outstanding fashion, to help make China’s fashion industry more environmentally sustainable, and to build bridges between Europe and Asia.

Based in Beijing, NEEMIC is a member of Agrachina (a network aimed towards promoting organic agriculture in China) and collaborates with young designers from London to Tokyo to create a particular metropolitan aesthetic, using the finest natural fabrics “for a comfortable feel”. We caught up with Hans Martin Galliker to find out more.

When and why did you set up NEEMIC?
 We started NEEMIC in Hong Kong in 2011, and also co-founded the Hong Kong Organic Textile Association. Motivated by (more) promising cultural and artistic opportunities, we moved to Beijing in April 2012, with the aim of setting up a Beijing Organic Textile Association. The latter hasn’t been fully realised yet because we’re still on the lookout for interested parties to collaborate with. Even after widening our scope - with the aim of establishing a Beijing Fashion Collective - we have not yet discovered or met enough fashion designers who are seriously interested in the organic/sustainability sector. However, the spirit of the Beijing Organic Textile Association constantly prompts us to think about how we operate.

What is your brand philosophy? 
NEEMIC actually started as a project of Agrachina, which supports young Chinese entrepreneurs whose projects are helping Chinese agriculture to become more environmentally friendly, and to offer better prospects to young farmers (you can read more about this here). In short, the idea behind NEEMIC is to create and foster eco-systems around sustainability and creativity. We want to encourage the use of organic or upcycled fabrics and to foster artistic events around this idea.

What has been the most surprising thing that you have discovered about the Chinese fashion industry so far?
 I’ve been surprised at how less developed, compared to India for example, the domestic/Chinese market for organic and fair trade fabrics is. There are some positive signs though. In early February, for instance, I attended the 8th Annual Meeting of China Textile Roundtable Forum in Beijing where audiences have started to consider environmental protection with much more concern. The panel praised textile entrepreneurs who had implemented water and electricity-saving bleaching techniques, and predicted that companies who do not scope these “new” market requirements will be out of business in 5-10 years time. Some years ago, it was forbidden to discuss such issues so publicly at an event like this! So, I feel that something is changing here in China - it is just delayed. On the retail market, on the other hand, there is very limited choice in terms of organic fabrics available for purchase, which makes it hard for independent fashion designers to practice sustainably. We say that we are “almost” an organic fashion brand, since only 20-30% of our collection truly complies with this statement.

What do you think needs to be done in terms of raising more awareness about sustainable fashion and prepping the Chinese market to use organic/fair trade fabrics?
 In Korea and Japan, the market for organic baby clothes has developed to a very mature level: significant market volume, ever increasing consumer demand, multiple suppliers, and professional retail sales points that offer high quality products and education about the advantages of sustainable fabrics. Fashion designers, on the other hand, mostly require thinner, better-looking woven fabrics (not the knitted fabrics used for baby clothes). So, we’re dealing with a completely different product. Also, market drivers, like the demand for “healthy” fabrics, is something that fashionistas don’t care much about; therefore, even in more developed markets there is still a long way to go.

In China, we are still at the beginning. More and more health conscious parents import “chemical-free” baby clothes, but there is still not much consumer interest for high-end sustainable fashion. For eco-conscious Chinese fashion designers, the bottleneck is the retail channels that stock limited organic fabrics. Also, the quality of domestic organic fabrics I’ve seen at textile fairs so far hasn’t convinced me.

Finally, I think it’s necessary to get in touch with existing organisations at both governmental and non-governmental level - get them on board, start campaigning amongst producers, and spread the message to the public. Once there’s a basic consumption, demand and supply, there will be a price premium that will make the business lucrative for suppliers. Small but agile organisations like Beijing Fashion Collective could foster this process by unifying B2B market participants and supporting independent fashion designers via a hands-on approach.

Coming back to NEEMIC, what are you most proud of?
 I’m proud of the fact that, since 2009, I have been working on projects that are increasingly impacting public awareness. This work has led to some fantastic experiences, but I also pay a high price: since I haven’t found an investor to professionalise our projects yet, I’m working on average 14 hours a day without holidays, but with piled up debts. Some call me a dreamer or naïve, but I believe in what I do, in the power of our projects, and in the creativity and efforts of our members, so I embrace outsider critique and ignore it at the same time. This is not always easy, especially when it comes from old friends or my family from rural Switzerland. For them, it’s hard to understand what I do and why.

Where do you hope to be in 3-5 years? 
While exploring China’s agriculture in 2009, my vision developed: I wanted to help improve livelihoods and create more sustainable production processes for millions of citizens in China’s rural regions. With my versatile background (in farming, as a former IT engineer and B2B Key Account Sales/Communication specialist) I understand it as my mission to support young entrepreneurs working in sustainable agriculture.

From 2010 to 2020, these projects should build up capital, knowledge clusters and import relationships in China, which will later be used in countries like Africa to establish large-scale, organic agriculture and holistic permaculture projects via a joint-effort with Chinese companies and local government. This will not only improve rural livelihoods, but also lead to healthier food for consumers, as well as aid in environmental protection.

As of yet, I haven’t crossed paths with many young Chinese entrepreneurs who are serious about sustainable agriculture. And this is why we’ve founded projects like NEEMIC. I’m open to discussing with different start-ups – from venture capital seeds with future IPO, to completely NPO social businesses. With the latter, I have drawn some positive conclusions from Coop and Migros (two leading Swiss retail companies). They have multi-billion turnovers and over 80% of market shares - and both are NPOs. Every Swiss citizen loves them since they offer good products at competitive prices while seriously considering social and environmental impact. I believe they can serve as models for China, and this is what we are working towards.

Juanjuan Hu

Fri, 19 Apr 2013 03:54:06 +0800

Juanjuan Hu is a jewellery designer with a background in product design. After completing an MA in Industrial Design at Hubei University of Technology in China, the young creative moved on to London in order to study jewellery design at Central Saint Martins. Already a recipient of a number of awards, Juanjuan Hu currently resides in Shanghai as an affiliate of the Industrial Design department, University of Shanghai for Science and Technology.