#Shishang

[kaytanhq]

olá mods, boa tarde! eu estou planejando aplicar um policial na ilha e gostaria de saber um pouco mais sobre como funciona as delegacias de kaytan, poderiam me dizer?

oi anon! conversei com o resto dos mods e o star ajudou a gente e vamos te passar algumas informações aqui:

na questão de hierarquia, o mais alto posto hierárquico é o de comissário, abaixo dele ficam os capitães de divisão e abaixo do capitão de divisão fica todo mundo em sua própria delegacia.

por exemplo: o detetive da terceira divisão responde para o capitão da terceira divisão apenas, e em caso de problema entre divisões, o problema escala até o gabinete do comissário.

mas o policiamento kaytano também conta com o "soldado real", que são pessoas que treinaram especificamente para proteger o castelo e só respondem ao rei e a rainha.

e na questão da divisão, cada bairro conta com duas, sendo que a segunda divisão de cada bairro é mais voltada para crimes cibernéticos ou crimes de ofensas menores.

1° e 2° divisão: royal venue.

3° e 4° divisão: shishang.

5° e 6° divisão: milaeui-gil.

7° e 8° divisão: keirei.

9° e 10° divisão: uminomichi.

divisões especiais: existem também unidades que não entram na numeração por serem delegacias especializadas, como por exemplo delegacia das mulheres.

[ohcitron]

my ishigami brainrot persists

[lnpop]

When Xiao Yan saw Lin Feng for the first time, and became his.

well... I mean, technically its true

[koala-otter]

incomplete fic 5: fashion au

Republic City Fashion Week had arrived. Out on the streets? It was a heyday of leaf litter and well-dressed visitors modeling their patterned three-piece suits, floor-length fall coats, thigh-high combat boots, and patent-leather fanny packs for photographers vaulting over the tops of cars and tripping over pedestrians’ feet with cameras strapped across their chests. 

Inside the shows? Disaster. 

“No, not the fur, just the canvas sneaker!” Sokka cried exasperatedly. He grabbed the shoes in question and handed them to the model. “Were you even at the fitting?”

She took the sneakers in hand and stared at him owlishly once before running off back to the crowd of other models.

A hand landed on Sokka’s back and he looked behind himself to find Katara, dressed impeccably in a royal blue slip dress and patterned blazer from his last fall collection, looking concerned. 

“You need to calm down, Sokka,” she said. “We can’t have you bursting a blood vessel in the last fifteen minutes before the show.”

“I’m not gonna burst a blood vessel,” he argued. He adjusted the kimono layered over his cropped button-down shirt. “We’re just fifteen min—” He checked his watch, a platinum gift to himself purchased after the first time the label hit a million yuan in sales. His eyes widened. “Now fourteen, Katara, fourteen minutes till showtime, and the models aren’t even finished getting dressed.” 

“They’re getting dressed,” Katara promised him, not taking her hand away even as he looked toward the models. “Let the stylists handle it.”

“And what?” Sokka said, crossing his arms. “Just start late?”

“Shows start late all the time,” Katara reasoned. 

“Mine don’t,” Sokka replied. “And we’re down a model! I do one favor for Hahn to help him get his career off the ground, even though his walk is the worst, and he can’t even show up on time.”

“I know,” Katara said with a sigh.

Sokka pouted a second more until he spotted Suki, striding toward them in a sheer, gold-embroidered top and emerald green trousers from his first-ever fall collection. 

“Suki!” he exclaimed, and she greeted them with a wan smile. 

“Don’t get excited yet,” she said. She turned to Sokka. “I don’t want to stress you out, but I think you should know. I sent the invite to ShiShang.”

“What?” Sokka cries. 

“I know, but they’re the world’s top fashion magazine.” Suki crossed her arms. “I’d be pretty shitty at PR if I didn’t at least try to get them to cover your show.”

Katara looked at Suki. “Who’d they send?”

“Their editor-in-chief.”

Katara gasped, and Sokka’s jaw dropped. 

“Say sike right now.”

“I can’t, Sokka,” Suki said weakly. 

“Zuko Watanabe is at this show? Here? Right now?”

“Front row.”

“Front row?”

“Right below the hanging kayak.”

Sokka let out a groan, long and low. They had rented out the boating wing of the Southern Water Tribe Cultural Center for the show.

“Oh, come on, Snoozles, he’s not that bad.”

Sokka looked up to find Toph striding over, equipped with her cane, and her arm looped through Aang’s. She grinned devilishly. 

“You and Katara need to get over your little grudge against Zuko if you’re gonna make it in this industry,” she said, “considering Suki’s right, and he has the highest circulation in the world.”

“The grudge is for what he did to you and Aang!” Sokka sputtered. 

“And it’s really nice of you guys,” Aang said diplomatically, “but it really was just a misunderstanding. How was he supposed to know Air Nomad patterns influenced the Fire Nation’s?”

“He’s a trained journalist,” Katara said, crossing her arms. “It’s his job to research that stuff.”

“Yeah, I can’t help thinking he could have done a little more before accusing you of appropriation,” added Sokka. 

“And he apologized for it years ago.” Aang grinned when Katara drew up close to him, and he kissed her cheek despite the doubtful expression on her face.

“He’s more than made up for it,” Toph said. “How do you think the prices for your textiles are so low? We make a ton every year from that home goods deal he set up for us.”

Sokka gawked at her. “Since when do you care about our prices?”

Toph stuck her tongue out in his direction. “Since you started judging my friend unfairly.”

“Your friend?” Sokka nearly shrieked. “After everything—you know what, I don’t have time for this.” Sokka pulled away from the group. “Because I have Zuko Watanabe sitting front row for my first spring collection, and my models aren’t even finished getting dressed.” He threw his arms in the air. “And where the fuck is Hahn!”

A model walking by, sipping ice water through a straw, stopped next to Sokka. “Hahn?” he asked. 

“Yes, Hahn,” Sokka practically yelled. “Do you know where he is?”

“Hahn’s not coming,” the model said, resuming his sipping. “He’s on Ember Island for some influencer gig.”

He walked away, Sokka not-so-silently seething behind him. 

“Great!” Sokka cried, turning back around to face his friends. “We have,” he looked down at his watch, “eight minutes until the show starts, and I have no model.” His head fell into his hands. “I don’t know how this could get any—”

“Don’t finish that sentence,” Katara said, laying a hand on his shoulder, “please.”

Sokka nodded, and then he wilted to the floor. “I have to skip look number eight, then.”

Katara rubbed his back, a sympathetic frown on her face. “I’m sorry, Sokka. I know how much look number eight means to you.”

Suki nudged Aang. He looked down at her with a small smile. 

“Do you think you could do it?” she whispered to him. 

Aang’s smile changed to slightly regretful, and he shook his head quickly. “I’ve volunteered before, but,” he said, pointing to his bald head, “Sokka says I’m too tall to model.”

Toph laughed out loud, and Sokka looked up sharply, tears in his eyes, just in time to see Suki sigh. 

“All right,” she said, stepping forward. She took her hair out of its half-up-half-down style and shook it loose with her fingers. “I’ll do it.”

“Do what?” Sokka asked, his tone still mournful. 

“Model. Put me in look number eight.”

For a moment, Sokka only stared up at her, and then all at once, he leapt to his feet and swept Suki up into his arms, lifting her into the air. “Suki, you are just the best friend ever!”

Suki laughed in surprise, pushing Sokka’s arms off until he unceremoniously dropped her once more on the floor. “Don’t thank me yet,” she said. “You haven’t even seen my walk.”

“I don’t have to,” Sokka said, grinning. “The clothes speak for themselves. Hee Yoon!” He waved over a young woman dressed entirely in black, and then pushed Suki toward her. “Take Suki to hair and makeup, and then bring her back to me to finish styling. We’ll have to do some last-minute tailoring, but she’ll be wearing look number eight.”

Hee Yoon’s black-lined eyes went wide. “But look number eight is a menswear—”

“And?” Katara interrupted, her voice steely. 

Hee Yoon ducked her head. “Come on, Miss Kawakubo,” she said to Suki, “this should only take a few minutes.”

Sokka looked at his watch as the two women looked away. “We’re four minutes to the show.”

“And the models are dressed and lining up,” Katara said. 

“And look number eight isn’t even till the second half, so we can start on time.” Sokka looked up from his watch with a smile. “This is why you stay friends with your exes.” 

thissss was supposed to be a oneshot but then i did a real outline and it turned out it was more of a 15-chapter slowburn that i didn’t have energy for. but i might one day! we hope, you know? 

[chinese-study-blog]

#Podcast Resources Master Post# (Mandarin Chinese) [Intermediate-Advanced]

Podcasts are simply the best way to squeeze in study time into busy schedules. Doing any sport, doing groceries, walking to/from school and work, extra time can be squeezed in (I always think back to the analogy with the stones, pebbles, sand and water in a cup, remember that post by Hacking Chinese?).

Below is some Intermediate to advanced appropriate listening material. If you have any suggestions don’t hesitate to contact me!

By the way, I am thinking of creating an Instagram account, is that anything you are interested in? Let me know!!

Podcast software/Apps:

Stitcher, Spotify and Ximalaya all have mobile apps and desktop versions for easy syncing.

Podcast Shows:

Ximalaya Podcasts:

青春逗 [this show is presented by two 海归 (Chinese returnees, i.e. two Chinese who have lived abroad and come back to China), therefore they sometimes mix English words within the podcast. It is a contempary topic discussion podcast, spoken in natural language between the two presenters and sometimes a third guest] https://www.ximalaya.com/shishang/18796952/

Linda讲故事 [naturally spoken language, one person      retelling a story, natural and unscripted] https://www.ximalaya.com/qinggan/29392148/

健康生活100问 [has a      question about nutrition and it answers the question in 3-5 minute short      episodes, for example 'is MSG really bad for health?', 'which is      healthier, cow milk or soy milk?'] https://www.ximalaya.com/jiankang/18734760/

故事FM [each episode has a different person come      to tell their story about some kind of topic, such as being abused,      quitting a 'top school', and other stories that tell lives of very      ordinary people but presents a picture of lives of ordinary chinese      people with a story to tell. It's also spoken in natural, unscripted      language with a host] https://www.ximalaya.com/toutiao/7878702/

失眠小姐 [Short 3-5 minute 'life advice' to soft      background music] https://www.ximalaya.com/qinggan/292190/

唐诗三百首 [Learn the 300 Tang Poems] https://www.ximalaya.com/ertong/16479532/

Kaela的中文广播  Learn Chinese with Kaela [a naturally spoken podcast presented by Kaela, transcripts for the show found at https://gaerdan.wordpress.com/  https://www.ximalaya.com/jiaoyu/16634873/

Stitcher Podcasts:

Simply search the below podcasts in your podcast app

Misc Podcast Websites:

These podcasts you can access through the podcast website (the ones with *s are ones I have used and are very good, its worth spending time on the website, you can download the MP3s to your phone)

o   https://www.slow-chinese.com/podcast/ *

o   http://popupchinese.com/  *

o   http://www.cslpod.com *

o   http://justlearnchinese.com/mini-novels/

o   http://yuedu.fm/article

o   https://mandarinbean.com/category/advanced/

o   http://justlearnchinese.com/category/chinese-short-stories/

Do you have anymore? Please share in the comments!

[my-otp-list]

So I received an inbox on Danmei recommendations and was drafting the reply but I accidentally delete the draft. I’m so sorry T_T I don’t remember the username of the person who asked. I’m just gonna post my reply here hoping the person will see it.

Anyway, the ask goes along this line: “I’m looking for danmei novels that have fantasy, slow burn and some comedy. I have read all MXTX’s novels and also Sha Po Lang and Liu Yao.” So here’s my recs:

Hi there,

Thank you for asking. In fact I also have the very same preference as you do: slow burn, fantasy and some comedy. But somehow I have a hard time finding a novel that l consider great - perhaps it’s just me being an odd reader...

Also, since I’ve got involved with Daomu Biji 6 months ago, I haven’t checked out any new title (read: I’m too deep in this abyss to get out). I understand you are probably only looking for danmei novels but if you have some time, check out Daomu. Incredible bromance between the mains. But I digress...

With all that being said, still, here are several titles that I have managed to check out / heard a lot of people talking about. They all have fantasy/supernatural elements & comedy. Note that I only read long novel - preferably 100+ chapters.

- Hun Bing Zhi Ge / Jiang Chao Ge and The Spirit Weapon: Slow burn, great fantasy and world building. Is an adventure-type story where the main character trains to be stronger, travels from one town to another, forms great bond with his comrades and finally defeats the Big Boss.

- Di Wang Gong Lue / The Emperor’s Strategy: Not actually slow burn since the couple have feelings for each other since the very beginning, but their personalities are fantastic - both the gong and the shou are lovable. Storyline is great too. Have manhua and donghua adaptations.

- Zhen Hun / Guardian: Another super famous novel by Priest (guess you already know about it). Sort of slow burn. Also have a live action adaptation which, to be honest, is kinda crappy but Zhu Yilong and Bai Yu were amazing at acting out the main couple (they pretty much saved the entire series).

- The Husky and His White Cat Shizun: I haven’t read this but many, many people say this is like Scum Villain - just a lot more tragic and twisted (still Happy Ending though).

- Tong Qian Kan Shi / My horrible attempt at translating the title: The Coins That Shoulder Life: I loved this. This is the only danmei novel where I find a couple that have very similar personalities to MDZS’s Lan Wangji & Wei Wuxian. Fun storyline with a lot of intro to the art of fengshui and magical formations. And yes, extremely slow burn.

- Shishang Di Yi Fo Xiu / The History’s Number 1 Buddhist Cultivator: 300+ chapters, super solid cultivation storyline. Read this if you want to properly learn more about cultivation and the vast world surrounding it. The tone is generally serious (of course, some comedy here and there) and the romance is built slowly.

- Mo Du / Silent Reading & Po Yun / Breaking Through The Clouds: No fantasy elements but rather investigation/detective. Really great storyline where the characters keep getting into dangerous situations which require them to protect each other (and hence slowly falling in love lol). I highly recommend.

This is probably not a lot since, as I mentioned, I’m taking a break from danmei. But I hope you find something good to read from the list! ^^ You can also DM me and we can chat more about other titles.

Again, I’m sorry for accidentally deleting your ask T.T

Have fun reading!

[ilovechinesemusic]

Alex Fong - Ruguo Shishang Mei Shagua (Cantonese)

[glitterystarlightpirate]

[neukreativmobel-blog]

ZANADU Reise-Erlebnis-Raum durch Shishang Architektur, Shanghai – China has been published on Dekor Mobel

New Post has been published on http://neukreativmobel.com/zanadu-reise-erlebnis-raum-durch-shishang-architektur-shanghai-china/

ZANADU Reise-Erlebnis-Raum durch Shishang Architektur, Shanghai – China

28. Februar 2017 von retail-design blog

ZANADU ist eine 4 Jahre alte e-commerce-startup-Unternehmens im premium-Reise-Raum, in China. Sie bieten eine suite von Reise-Produkte zu wohlhabenden Reisenden Chinesen. Signatur-Reisen, internationale Luxus-Urlaub, high-end-Kreuzfahrten, häusliche kurzen Urlaub, private Villen und eine große Auswahl der weltweit besten boutique-und Luxus-hotels. Da die chinesische Reise-Markt ist vergleichsweise jung, viele Verbraucher sind sich nicht klar über die Aspekte von Luxus-Urlaub. Was sind boutique-hotels? Was zu erwarten ist auf eine exklusive Luxus-Reise? Wie werden high-end-Kreuzfahrten unterscheiden sich von den üblichen Kreuzfahrten? etc. Um diese Fragen zu beantworten, die für Ihre potenziellen Kunden, ZANADU hat eine Vielzahl von Medien. Sie betreiben einen sehr erfolgreichen Hause Tencent Kanal, die Sie veröffentlichen, eine vierteljährliche Zeitschrift, Schießen Sie video-Inhalte, und im Jahr 2015 begannen Sie zu Schießen, 360° virtual reality videos. Diese so genannten VR-videos, die es möglich machen, Sie erleben Reiseziele und hotels vor Kunden, die eine Buchung machen. ZANADU gehalten hat zahlreiche Roadshows-und offline-Veranstaltungen, bei denen Sie diese Erfahrungen, Perspektiven. Da der Erfolg mit dieser Technik, beschlossen Sie, erstellen Sie einen festen Platz, wo können die Kunden erleben, Ihre Reisen, Produkte auf innovative Art und Weise, einschließlich der VR-Technologie. Value Retail, dem weltweit größten Betreiber von Luxus-outlets, angeboten ZANADU eine 600sqm Platz in der neu eröffneten Shanghai Village in Shanghai Pudong, direkt neben Disney.

Shishang Architektur beauftragt wurde, das design des Raumes unter Berücksichtigung einiger Aspekte und Interessengruppen: – Der Raum sollte sich widerspiegeln, dass ZANADU-Marke. Dies ist eine sehr junge Marke ist, und dieser Raum ist der erste offline-Speicherort für die Marke. Viel überlegung wurde in wie portrait dieses online-Marke in einer offline-Umgebung. – sollte Der Raum verfügen über die VR-Technologie-und VR-Erfahrung als ein Kernstück und Anziehungspunkt für walk-in Kunden. – Es sollte mehr Funktionen zu präsentieren, beliebte Reiseziele und Reise-Produkte auf interaktive Weise mithilfe von touchscreen-terminals. – VR-Erfahrungen können sehr individuell und ruhig, da die Benutzer tragen einer VR-Glas. Die Herausforderung war, um den Ort spannende und immersive an der gleichen Zeit.

Die große Idee war Das „Reisebüro der Zukunft“. In der west -, Ziegel-und-Mörtel-Reisebüros gibt es überall und zu reflektieren, die alte Weise der Buchung der Ferien. In China, auf der anderen Seite, die meisten Reisen wird online gebucht und offline-Agenturen waren nie wirklich beliebt. Wir wollten ZANADU ‚ s erste Marke Raum, um nachzudenken, wie Reisen gebucht werden und Erfahrungen in der nahen Zukunft. Die große Idee beeinflusst das design und die Funktionalität des Raumes: – Die design-Sprache ist sehr tech-driven. Der Raum fühlt sich wie eine explodierte pixel-Landschaft. Digitale Wolken von der Decke hängen. Digital cubes sind verstreut in island durch den Raum. Die Pixel repräsentieren den digitalen Ursprung der Marke, die übersetzt in eine physikalische Umgebung. – Fünf riesigen Digital stilisierten Wahlen sind das zentrale Element des Raumes, lädt die Besucher ein, Platz zu nehmen unter Ihnen und starten Sie eine virtuelle Reise. – 20 interaktive Ziel cubes waren ausgestattet mit touchscreen-Monitore, die Anzeige von interaktiven Geschichten über Reisen, Produkte und Reiseziele. – Zwei 10 meter breiten Leinwänden und einem surround-sound-system gemacht für dramatische audio-visuelle Effekte. Alle 15 Minuten eine 2-minütige filmische Marke film spielt und die sich über die 20m Breite des Bildschirms. – Alles, was im store ist, miteinander verbunden über Hause Tencent und QR-codes zu ZANADU ‚ s customer-relationship-management-system. Jeder Besucher einen QR-code Scannen, um zu erhalten eine VR-Erfahrung oder einen link, um bestimmte Produkte

Die ZANADU Platz in der Shanghai-Dorf hatte sich von einem soft opening im Mai 2016 und ein offizielles Eröffnungs-event am 3. August. Shanghai Village verfügt über 165 Filialen, und seit Anfang der ZANADU Raum wurde der am meisten besuchte Ort im ganzen Dorf. Es ist eine monatliche passantenfrequenz von über 10.000 Besuchern, 75% von denen haben, die VR-Erfahrung und Verknüpfung der CRM-Programm. Viele einflussreiche chinesische Medien berichteten über die Eröffnung, darunter einflussreiche Publikationen, die in der tech-Branche (36kr, Pingwest), Reise-Medien (tnooz, traveldaily), TV-Sender wie CCTV-und Phoenix-TV-und online-Portale wie sina, und ifeng.com

Design: Shishang Architektur

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[iklanbali]

Lirik Lagu Anak Berbahasa Tionghoa 世上只有妈妈好 (shishang zhiyou mama hao) 世上只有妈妈好 shìshàng zhǐyǒu māmā hǎo Hanya ibu yang terbaik di dunia 有妈的孩子像个宝 yǒu mā de háizi xiàng gè bǎo Seorang anak yang punya ibu seperti harta karun, sangatlah berharga 投进了妈妈的怀抱 tóu jìnle māmā de huáibào Dalam pelukan kasih ibu 幸福享不了 xìngfú xiǎng bùliǎo Memiliki kebahagiaan tanpa akhir 没有妈妈最苦恼 méiyǒu māmā zuì kǔnǎo Tiak ada ibu adalah hal yang paling menyedihkan 没妈的孩子像根草 méi mā de háizi xiàng gēn cǎo Seorang anak tanpa ibu seperti rumput 离开妈妈的怀抱 líkāi māmā de huáibào Jauh dari pelukan kasih ibu 幸福哪里找 xìngfú nǎlǐ zhǎo Di mana akan menemukan kebahagiaan? 世上只有妈妈好 shìshàng zhǐyǒu māmā hǎo Hanya ibu yang terbaik di dunia 有妈的孩子不知道 yǒu mā de háizi bù zhīdào Anak yang punya ibu tidaklah mengerti 要是他知道 yàoshi tā zhīdào Begitu mereka mengerti betapa berharganya itu 梦里也会笑 mèng lǐ yě huì xiào Bahkan dalam mimpi akan tertawa Terima kasih telah membaca, silahkan kunjungi Tionghoa Indonesia untuk artikel-artikel lain yang lebih menarik.

[architectnews]

Office Space of Dongfeng Park 3# Yard, Beijing

Office Space of Dongfeng Park 3# Yard, Beijing Architecture Studio, Chinese City Design Practice Photos

Office Space of Dongfeng Park 3# Yard

17 Sep 2021

Design: Beijing China Virtue Architectural Design Co., Ltd led by Chunli Zhang

Location: Dongfeng park, Jiangtaiwa Village, Chaoyang District, Beijing, Northern China

Low Carbon Environmental-Friendly Architects Studio in Beijing Suburban Park

Photos by Shuo Chen and Chun Fang

Dongfeng Park Architecture Studio

Located in between the East 4th-5th Ring Road of Beijing City, Dongfeng park is suburban city park that functions as one part within the first defensing green belt safeguarding the Beijing City. With its municipal division in Jiangtaiwa village, Dongfeng Township, Chaoyang District, this office project in the Dongfeng park becomes an ideal working space for the designers, and the chief architect Chunli Zhang hopes to provide the staff with an enjoyable space where gets to be relaxing, feel free and closest to nature.

The primary consideration of the plan is to implement energy conservation and emission reduction strategies by minimizing new building volume, selecting environmentally friendly, energy-saving and renewable materials, and adopting appropriate construction measures. Meanwhile, the original chaotic state in the house courtyard is repaired to be more harmonious with the park environment.

As a design studio, four spatial layout areas are set according to the daily functional requirements of designers. Entrance lobby provides space for public communication such as group dining, bar area and meetings. Furthermore, it is allowed to be flexibly separated and merged with the nearby fitness area through a sliding door, which facilitates to enlarge this area for Art Salon and Exhibitions. The VIP meeting room on the west side is equipped with panoramic floor glass curtain walls on both north and south sides, which makes it be a leisure area for business talking with clients and friends. The office area on the north side are working area for the design team.

The main structure of the new building adopts recyclable steel structure and three-layer hollow + lov-E glass curtain wall. It applies energy-saving air conditioning system for heating and cooling, and the external wall and roof of the house are installed with thermal insulation layers to ensure energy conservation and emission reduction in a whole year. A skylight is reserved in the windowless room inside the building to save power consumption. In addition, French windows are used in the south of the open office area, staff working inside can fully feel the warmth of the sun and the natural landscape in the courtyard.

The courtyard on the south side of the house can be used for daily leisure and team gathering. The ground is paved with old stone strips that collected from Anhui old buildings which represents the old paving styles in the Ming and Qing Dynasty.

The original trees, flowers and plants are retained in the courtyard to create a classic and relaxing atmosphere. Designers can go to the roof by rotating staircase. Sofa and planting boxes make the top roof a perfect place for deep mind relaxing. In addition, solar-powered showers are set for everyone to use after fitness!

By placing more attention to designer’s work condition, physical and mental health, the project hopes to build up to be the most popular office for designers.

Office Space of Dongfeng Park 3# Yard in Beijing – Building Information

Project Name: Office Space of Dongfeng Park 3# Yard Address: 3# Yard, Dongfeng Park, Jiangtaiwa Village, Chaoyang District, Beijing Design company: Beijing China Virtue Architectural Design Co., Ltd Chief Designer: Chunli Zhang Design Content: Architectural Design, Landscape Design and Interior Design Design Area: 1,000 square meters Design Time: 2019 Completion Time: 2020

Photographers: Shuo Chen, Chun Fang

Mandarin text:

坐落于北京郊野公园里的低碳友好型设计师工作室

东风公园位于北京市朝阳区东风乡将台洼村，地处东四环、五环之间，属于北京市第一道绿化隔离地区郊野公园环。它犹如城市中的避风港，设计师张春利希望为在此工作的设计师们提供贴近自然、放松、自由、格调清新的创意工作空间。

设计的首要考虑即为通过尽量减少新建建筑的体量，选用环保、节能、可再生材料，以及采用适合的建造措施，来促进建筑的节能减排，同时修缮院落原有杂乱无章的状态，使它与公园环境更加和谐地融合。

项目的功能定位为设计工作室，根据设计师日常的生活及工作需求，在空间布局上设定四个板块区域。进门前厅可以满足用餐、水吧、会议等公共交流功能，与旁边的健身区通过拉门灵活分隔、合并，满足举办艺术沙龙活动和展示的功能；西侧VIP休闲交流区在南北两侧设有全景落地玻璃幕墙，成为一个闲适的会友交谈区域；北侧的办公区域则实现团队工作的场地功能。

新建筑主体结构采用可回收的钢结构和3层中空加lov-E玻璃幕墙，使用节能空气源系统采暖和制冷，房屋的外墙和屋顶安装了足够厚度的保温层，保证全年时间段的节能减排。在建筑内部无窗房间预留了采光天窗，节约用电消耗。另外，开敞式办公区域南向全部采用落地窗，使用者可以充分感受阳光的温暖和庭院中的自然景观。

房屋南侧的庭院可供日常闲暇和聚会场地使用，地面使用从安徽收集到的明清时期老建筑庭院里的老石条铺就，院内保留原有树木花草，营造出古朴、轻松自在的场地氛围。通过旋转楼梯可以去往屋顶，放置的沙发和绿植木箱的配置成为紧张工作中调节心情、放松头脑的惬意好去处。另外，室内设有太阳能淋浴间，供设计师们健身后使用！

该项目希望通过更加关注设计师的工作舒适度、身心健康，将此处打造成最受设计师欢迎的办公空间。

项目名称：东风公园3号院办公空间 项目地址：北京市朝阳区将台洼村东风公园3号院 设计公司：中德行建筑设计有限公司 设计团队：张春利 设计内容：建筑设计.庭院设计.室内设计 设计面积：1000平方米 设计时间：2019 建成时间：2020 摄影团队：陈溯，方淳

Office Space of Dongfeng Park 3# Yard in Beijing, China images / information received 170921

Location: Dongfeng Park, Beijing, People’s Republic of China

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Hualong Private Terminal Space, Capital Airport Design: Shishang Architecture photographer : An Li Hualong Private Terminal Space

Comments / photos for the Office Space of Dongfeng Park 3# Yard Beijing page welcome

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[aliworldtrade]

Hebei Chenzhiyuan Trading Company Limited

86-0311-66695889 008618132659414

1-1-2104, Shishang Zunyuan, Tangu South St., Shijiazhuang, Hebei, China

Our company specical with rubber floor for many years . has become well-known at home and abroad ,especially in rubber sheet , gym rubber floor , PVC sport floor . and other sheet and floor .More than 60% products are exported to the world wide . with best quality and service

[bijoubel]

Check out this listing I just added to my Poshmark closet: SHISHANG GIRL Studded Patent T-Strap Dance Heels.

[lnpop]

so i’ve been reading  History’s Number 1 Founder lately

This is what I imagine Lin Feng to look like

[de-nc]

ISTD evaluation

I rarely read the novels of Italian authors. I think this is an opportunity to feel the charm of people from different countries. At the same time, the story of this novel makes me feel interesting and imaginative. My initial idea is to make a book full of interactive elements and I want readers to discover some interactive easter eggs while reading.

At the beginning, my ideas gimmicks. Because the brief has no specific requirement to create the book, I want to try to innovate a new format. However, I often doubted what I had done wrong when I was denied in the tutorial. I felt that my ideas were limited Because I had no idea what kind of layout the project required, like a traditional novel or like a magazine. The difficulty of this project lies in the fixed text of the novel, and I cannot change the position of the content casually. My biggest mistake was that I didn't fully understand the requirements of the project at the beginning, so I spent too much time on the format design. There is less time to experiment with other typography at a later stage, and less feedback on details. After I understood the requirements of the project, the overall style changed a lot, but I tried to keep the style unified and make it look like a travel brochure.

In terms of time management, I felt negative and I didn't arrange my study and rest time properly. I don't really want to make excuses, because I can still see some students doing great work. The language problem still bothers me, and it prevents me from fully understanding all the feedback.

I should determine the theme and style at the beginning of the project, and then make sure that I can complete the planned tasks within a fixed time.

The biggest thing I learned from this unit was that I realized that different typography styles would have an impact on the theme style. The typographic style should be consistent. Don't copy a design just because I like it. There is so much knowledge in English typesetting that I haven't studied it carefully. Shishang gave me a lot of advice on typography. When printing works, I realized that trying different designs can get better feedback. This is my conclusion from last year's study. I am happy with my final outcomes it looks better than I just display on the screen. I think the typography can be improved. I believe in better typography to give the reader an interactive experience.

[ziseviolet]

An Informative Essay on the Modern Hanfu Revival Movment

There aren’t that many English writings on the modern hanfu revival movement, but here’s one that I think does a good job of explaining the movement and it’s historical/political/social context. Recommended reading for anyone who’s interested in hanfu. Click title for the link to the blog entry.

Hanfu – A Tale Of Traditionalist Resistance

In 2003, a power-company worker named Wang Letian in Zhengzhou, Henan Province began doing something unprecedentedly strange, almost unthinkable in Chinese society with its subtly conformist pressures. He walked down the street, in broad daylight, wearing traditional Chinese clothing. And not just any traditional Chinese clothing – he did not choose, for example, the tangzhuang which was common during the Qing Dynasty. Mr. Wang chose to wear a pre-Qing hanfu (漢服) – and was the first person to do so in a public setting in 358 years. He may or may not have intended it, but his small act sparked a significant subcultural interest in reviving traditional Han clothing in China. Amongst many Chinese people, particularly young people, there is a desire to assert some material form of local, national and cultural pride which finds a ready expression in the hanfu.

The location here is significant. Zhengzhou is the capital of Henan Province, China’s cultural (and agricultural) heartland. Henan is home to Luoyang, Kaifeng and Anyang, three of China’s most important historical imperial capitals from the Xia, Yin, Zhou and Han Dynasties all the way down to the Song Dynasty. And yet, in recent years, Henan and its people have faced various difficulties. The famine of 1942 during the Sino-Japanese War hit Henan hardest of all, to the point where children were sold to other families so that they wouldn’t starve to death. In the wake of ‘reform and opening’, Henanese farmers were some of the hardest-hit by the corporate-driven land expropriation that followed hard on the heels of Deng’s privatisation programme – only the farmers of Anhui Province to the southeast suffered more. As a result, many migrant workers (mingong 民工) came out of Henan to work in urban centres of capital like Beijing, Shanghai and Shenzhen. Henan was routinely (and unfairly) portrayed and ridiculed in Chinese popular culture, particularly during the early 2000’s, as violent, criminal, backwards, superstitious, given to vice and (worst of all) poor.

It would be more than somewhat naïve to dismiss the class or regional origins of the hanfu subculture out-of-hand. Wang Letian was not, of course, a migrant worker, but in 2003 he was a proletarian power-plant worker in Henan’s biggest urban centre. And as an element of material culture, the hanfu of course hearkens back directly to a time when Henan was China’s centre and had not been left behind by the post-Deng rush to riches. Wang himself speaks of his gesture in nationalist and aesthetic terms, though: ‘In the end beautiful things will meet with people’s approval,’ he says. ‘Not to mention, the hanfu has always been our thing… in the great family of China’s 56 ethnic groups, only the Han do not have their traditional dress. Following [our] tragic history, only the Han traditional clothing style died out; we need to revive [this tradition].’

The hanfu subculture has not stayed in Henan. It has gained attention and interest from all over China, particularly from young people and particularly from young women. It has also attracted a great deal of criticism, which runs in several related veins. One WangYi (163.com) article from 2012 criticised the movement as ‘attention-seeking’, ‘awkward’ and reminiscent of ‘time-travel’, which covers most of the bases of the criticisms levelled at the hanfu subculture.

The first criticism, the criticism that gets the most air-time, is that the hanfu is ‘awkward’. It is ill-suited, the critics assert, for the practical demands of everyday clothing in modern urban life. The long design is imagined as impractical for the demands of work, school life, play and so on. The second, related criticism is that the adoption of the hanfu is essentially a form of misplaced nostalgia which has no place in modern Chinese society. The third criticism, running somewhat at odds with the first two, is that it is essentially a movement by individuals seeking to show off or an inauthentic attempt at copying a privilege enjoyed by other nations: that the current focus on clothing is superficial and shallow, and does nothing substantial for the spiritual question and the question of national dignity which it attempts to address. Still other critics do not dismiss the importance of the hanfu movement, but rather see it as trending dangerously in the direction of Han ethnic chauvinism, playing to historical victim complexes and potentially alienating China’s minorities.

The first and second criticisms are particularly interesting for their assumption, and indeed assertion, of a set of cultural norms governed by the demands of Western capitalism. In modern China the Western business suit is associated with ‘success’, defined in terms of monetary gain and superior social status. For women, western brands are practically always preferred to domestics. Practically the best thing one can say about a piece of clothing in Beijing or Shanghai is that it is ‘in vogue’ (shishang 時尚), and the types of clothing that invariably receive this assessment are European in design. One of the very last things one would say about the hanfu is that it is shishang – for this reason, it is dismissed as either a mere piece of nostalgia, as something that comes out of a period drama, or as something ‘impractical’ in the terms laid down by capitalist modernity.

The third criticism is somewhat more well-intentioned, but the idea is that the hanfu movement doesn’t go far enough and that it gets mired down in trivia in the quest for the Chinese national soul seems a bit grandiloquent and even misaimed. For one thing, the Bard’s (ironic?) quip in Hamlet that ‘the apparel oft proclaims the man’, though it is now used to enforce modern clothing norms, is not entirely untrue. What you wear does say something, and not necessarily something merely superficial. For another thing, the traditional Chinese classics outright proclaimed this. The Book of Rites states: ‘The son of Heaven, every five years, made a tour of Inspection through the fiefs… he ordered the superintendent of rites to examine the seasons and months, and fix the days, and to make uniform the standard tubes, the various ceremonies, the instruments of music, all measures, and the fashions of clothes. Whatever was wrong in these was rectified.’ Classical Chinese thought saw nothing ‘superficial’ about material culture calendars, weights and measures, music or clothing; all had the potential to either to proclaim or to blaspheme the sacred and transcendent. To limit this quest for the Chinese soul to more abstract pursuits is to reduce the Chinese soul itself to a modernist Cartesian abstraction, in a way that can only be self-defeating!

Nowadays, though, the risks for the hanfu movement are largely internal, and regard its relation to the culture around it. The big question for the movement is: to what extent does it seek to normalise the use of traditional dress? Many of the movement’s leaders, and certainly Mr. Wang himself, would say that they want to make hanfu a common and unremarkable sight in normal everyday Chinese urban life. Others would be content to keep the hanfu merely for important events – especially weddings, graduations, coming-of-age ceremonies. One real problem is touched on by thoughtful articulators of the third criticism, and that is that the hanfu is still sometimes broadly considered a novelty and a spectacle in modern Chinese culture. There is the risk of the ‘hipster’ factor, that hanfu becomes something worn for show in wilful or ironic self-alienation. Very obviously it isn’t a panacea for China’s national anxieties. But hopefully it can become and remain a form of healthy cultural expression in its own right.

That caution having been made. Here’s to the hanfu movement: with its local and proletarian roots; with its assertion of a national identity against the demands of deracinated, global capitalist anti-culture; with its ‘impracticality’; and with its attempt to bring something transcendent and beautiful back into China’s material culture.