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                                            <image:caption>&lt;span class=&quot;site-menu-text&quot; style=&quot;line-height: 1.4; display: inline-block;&quot;&gt;&lt;i&gt;issue #2&lt;/i&gt;_almost famous几近成名, 2022&lt;/span&gt;</image:caption>
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                                            <image:caption> &lt;span class=&quot;site-menu-text&quot; style=&quot;&quot;&gt;&lt;i&gt;  issue #1&lt;/i&gt;_MADE-LAND 制造地, 2021  &lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span class=&quot;site-menu-text&quot; style=&quot;&quot;&gt;&lt;i&gt;  issue #0&lt;/i&gt;_Sketch 草稿, 2020  &lt;/span&gt;</image:caption>
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                                            <image:caption>The growth of designers is a grand topic.  In this issue, we have divided our magazine into four parts: “Young Ones”, “Stayin’ Alive”, “A System”, “Common Sense”. We discuss designers’ life from different perspectives of views. </image:caption>
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                                            <image:caption>FNJI is a young brand with new bloods. They keep their brand vibrantly and build up a positive approach to work with designers. </image:caption>
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                                            <image:caption>Jiaxin chose Moreno Schweikle to be interviewed. Jiaxin appreciates the way Moreno observes materials, like what Moreno did in the project  Oasis seriss and Spring Cooler series, he built this art piece using water cooler bottles and water fountains. </image:caption>
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                                            <image:caption>Jiaxin Bu established his studio in Xiamen in 2021. His works focus on art expression of embellishments while gaining inspiration from modern culture and materials of China. But it seems that he struggles in this path. During our interview we often heard him say: I will go back to office if it doesn&amp;#x27;t work. </image:caption>
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                                            <image:caption>Jie Mao started his own studio in his apartment in Ningbo since 2018. Jie Mao saw design as a new born industry when he was back from France. But now, he still has problems in making money by running the studio. Sometimes he will do some graphic design works as well as financial investment and part-time French teaching to earn his expense.</image:caption>
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                                            <image:caption>Hongchao Wang from Benwu has been a designer for many years. Most of his jobs are design services. And now he lives a comfortable life with cynical attitude. His partner Peng You has cultivated a balanced working harmony with him. When Hongchao Wang faced obstacles in his work, he would talke to senior designer Godfrey Lam.</image:caption>
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                                            <image:caption>Weng Xinyu of Yuue has been settled down in Germany. Compared with many Chinese designers, he is living a free and more relaxing life.  His former partner Tao Haiyue shared another perspective of view of his life. And Lele Liang, the brand operator of mamamoon, also shared the work experience with Weng Xinyu.</image:caption>
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                                            <image:caption>The designer Jie Mao is interested in is Daniel Rybakken. Daniel Rybakken has his understanding in lighting fixtures. He has reached a balance of life and work in Goteborg. He would like to do more works related to furniture design, and he has built up stable relationships with many brands. Daniel considers himself lucky. Because young ones like him can always have the chance to be  &amp;#x22;rock stars&amp;#x22; by working in well-known projects. But the truth is designers need to spend much more time to survive in this area. </image:caption>
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                                            <image:caption>Designer Gong Ban started to run his studio in Shanghai since 2020.  He had saved enough money for his business by working as employee for many years. Gong Ban gathered rich experience from his previous design jobs. After running his own studio, he insists on exploring his expression system. At the same time he maintains his business by doing design services and customized designs for selling. </image:caption>
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                                            <image:caption>Moreno established his studio in 2018.  He was invited to make a display window for Balenciaga not long ago. Moreno told us that his parents also questioned about him not having a &amp;#x22;real job&amp;#x22;.</image:caption>
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                                            <image:caption>Ning Zhang and Yafei Yang established Cometabolism Studio in 2020. They rented a house in Shanghai Qingpu as the place for working and living. They aim to find their way of expression between art and design area. Among all Chinese young designers we interviewed, Ning Zhang is probably the most relaxed one. As to be famous, she said we need to be cautious. </image:caption>
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                                            <image:caption>Laura Molina who communicated with Ning Zhang is also a designer from a duo design team named TODOMUTA. Just like Cometabolism, the main income of TODOMUTA Studio is from selling products and custom-made design services. Being different from normal designers, they pay more attention on exploring and expressing their ideology, and their work pattern is also distinguished from others.</image:caption>
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                                            <image:caption>Jinghua Zeng’s studio was founded in 2020. The studio was moving out of her parents’ house to a traditional lighting mall named &amp;#x22;Versailles&amp;#x22;. when we were interviewing her on site. She often works late at night and needs to go through the towns on the way back home. During the long time we spend with her, we find Zeng has gradually dragged herself out of anxiety and shifted to a more peaceful state of mind. She even finds her own way to communicate with suppliers who she used to think too hard to deal with.</image:caption>
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                                            <image:caption>Hanna-Kaarina Heikkilä is the designer that Jinghua Zeng started to follow when she was studying in Aalto University.  Hanna-Kaarina Heikkilä and Anni Pitkäjärvi set up their studio in 2014. The abundant traditional design knowledge of North Europe could be nutrient as well as burden for young designers like them. As a female artist, Hanna is wiling to stress her female philosophy in world that full of male designers.  The friendly environment makes her embrace herself in a free relaxing way. </image:caption>
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                                            <image:caption>HC28 is a company that has complete supply chain and commercial landscape. They share many long-term cooperation experiences with both national and international designers. </image:caption>
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                                            <image:caption>Shaw Liu entered a short rest period after her first design collection. Because of an exhibition, she was given the chance to be involved in mainstream design industry. Her path is a typical example of designer’s career option. We invited Xu Wang, the judge of the exhibition, and Feng Cao, the business partner of Shaw Liu, to share opinions about young ones in design area. </image:caption>
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                        <loc>https://magazineinto.com/into-issue1</loc>
            
            
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                                            <image:caption>多少 MoreLess gained rich experience cooperating with various manufacturers, and was slowly looking for more ways to express modern design with wood craftsmanship; and then reflect these experiences back to design, in order to deepen and enrich the concept of brand.</image:caption>
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                                            <image:caption>We invited young designer卜佳新 Jiaxin Bu, 王白十 Baishi Wang who had worked as a journalist of a city magazine and photographer 邹训楷 Xunkai Zou, to Guangdong together. We try to produce &amp;#x22;a piece of record&amp;#x22; of traditional Chinese manufacturing: real, trivial and non-macroscopic. In our opinion, this is also a necessary beginning before exploring the whole topic. </image:caption>
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                                            <image:caption>Last year, 陈星宇 Sing Chan established his own design studio Sing Chan Design. Chan grew up in Guangzhou. With the deepening of his design step by step, he develops a better understanding of the manufacturing industry in Pearl River Delta.</image:caption>
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                                            <image:caption>The &amp;#x22;Bird Lamps&amp;#x22; that many people are familiar with was designed by 刘知礼 Zhili Liu in 2006. This product was reported by many overseas media at the time and attracted countless copycats. It was not until 2012 that Zhili Liu began to experiment with mass production, which was finally settled in 2017. Zhili Liu has spent a long time looking for a balance between design, market and manufacturing.</image:caption>
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                                            <image:caption>The three main creative designers of 品物 PINWU, 张雷 Lei Zhang, German designer Christoph John, Serbian designer Jovana Zhang, they based in 青山村 Qingshan village, Hangzhou with their team to conduct research and practice of traditional Chinese handicrafts. As PINWU is very clear that they are a company that only focuses on R&amp;#x26;D and innovation, they found their own manufacturing solution.</image:caption>
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                                            <image:caption>Ten years ago, 张周捷 Zhoujie Zhang began to form his own digital design exploration. He taught himself programming and craftsmanship, and learned how to use algorithms to build a vision for the future of product design, bringing his works to life one by one with his hands. His biggest challenge now is the &amp;#x22;application barrier&amp;#x22;: mass production and affordable - digital design eventually lands back to the most fundamental manufacturing.</image:caption>
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                                            <image:caption>周宸宸 Frank Chou&amp;#x27;s designs used to be produced in Italy and he has been working with domestic original design brands such as HC28 and 梵几 FNJI all these years. Regarding the topic of design and manufacturing, what he cares about is not the concrete difference brought by regional culture, but more about the systematic rules under the background of society and eras.</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/C2447105703669382958476545138850/IMG_3828.png</image:loc>
                                            <image:caption>In Xiamen, WUU has been constantly exploring the most suitable way to work with factories in the past few years. They have solving problems with limited resources of Xiamen, while also self-examined and have been trying to find a solution from the inside.</image:caption>
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                                            <image:caption>For over 7 years, 吱音 ziinlife has grown into one of the most highly regarded original design furniture brands in China. They retain their product at a reasonable price with an expected quality standard, ensuring that design is the priority and it solves common issues in life. Lily and Hui Zhu are looking for a balance between these elements.</image:caption>
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                                            <image:caption>U⁺ has nearly a hundred workers and 15,000 square meters in its Jinan factory, which is still a small enterprise in the traditional manufacturing industry. In the 12 years since its establishment, the three aspects of factory, brand and design have been growing closely together. The greater challenge comes from the search for an ideal symbiosis relationship.</image:caption>
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                                            <image:caption>After collecting and organising thousands of old family photos, Lanqing created this series of &amp;#x22;On the Chairs&amp;#x22;. She set the theme on a single furniture, &amp;#x22;chair&amp;#x22;. In the interview she wrote:&amp;#x22;&amp;#x27;Made in China&amp;#x27; not only produces furniture, but also our lives.&amp;#x22; - We put it on the cover of this volume.</image:caption>
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                                            <image:caption>As Lanqing set her creating direction for this special edition, Rose and Ray from the &lt;i&gt;(shame-on-you) &lt;/i&gt;office came out with the initial idea of design. The design of &amp;#x22;MADE-LAND 1920s-&amp;#x27;90s&amp;#x22; was inspired by 90s family photo album, bound with helical coll.</image:caption>
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                                            <image:caption>While developing the concept of &amp;#x22;MADE-LAND 2050&amp;#x22;, we tried to carry on issue 0&amp;#x27;s &amp;#x22;unconventionality&amp;#x22;, using printed materials as a carrier to engage more readers;  meanwhile, our working method which is built on editorial-driven in-depth content should still play an important part in this volume. After a thorough consideration, we reach a balance with Ray and Rose from the &lt;i&gt;(shame-on-you) &lt;/i&gt;office. These conjectures on the cards are not unrealisitic. They were concluded from our in-depth interviews with 11 practitioners from the industry. Based on the past 30 years and a sufficiently broad perspective, they gave their imagination of China&amp;#x27;s design industry in 2050.&lt;br /&gt;
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                                            <image:caption>&amp;#x22;MADE-LAND 2050&amp;#x22; contains 1 instruction card, 10 mirror cards, 1 brochure and 1 interview leaflet. Readers can read the silver cards in any orders. Each card represents a &amp;#x22;conjecture&amp;#x22; about 2050. </image:caption>
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                                            <image:caption>On the back of each card, our conjecture is explained in details. At the same time, each card has a corresponding index, which can be interspersed with the red brochure &amp;#x22;10 Observations&amp;#x22; to understand how the conjecture was projected.</image:caption>
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                                            <image:caption>We interviewed 11 designers and practitioners related to the exhibition. From their micro-experience, we try to infer what Chinese design might be like in the next 30 years.</image:caption>
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                                            <image:caption>It has been seven years since 朱晖 Hui Zhu and Xili established the &amp;#x22;zinnlife&amp;#x22; brand. They value the independence of internal logic more than formality. In this issue, he shared the design drafts of the Arrangeable Bookshelf. The limited edition of the Arrangeable Bookshelf uses 5-axis CNC machining process in the design and is polished with hand sandpaper afterwards. Hence, there is a piece of wood sandpaper in the magazine.&lt;br /&gt;
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                                            <image:caption>Due to the intersection of early stage work, we already have interview materials with the five interviewees from different periods. However, for this issue, our team members did a full interview within a limited time. The four-hour interview was the minimum and the longest interview lasted three days and was recorded for 12 hours. In the text reading material &amp;#x22;Narratives&amp;#x22;, every designer talks about his own life experience, design enlightenment and key concepts. At the same time, they also share their working methods and standard processes with us. At the end, they talk further about how they apply their design thinking with a product in recent years.</image:caption>
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                                            <image:caption>林宇鸣 Yuming Lin&amp;#x27;s brand Nanchow is the only domestic brand that uses modern design to solve the application of cement materials. This time he shared with us the design process of the ZENEN Cement Tiles. In every magazine, there is a small slice of encaustic cement tile.</image:caption>
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                                            <image:caption>When we received the email from the UNFOLD Shanghai Art Book Fair, the content of our very first issue was still in the process of collecting a great number of interviews. Almost in a very short period of time, my team members and our designer friends decided to do an issue 0. This is a reading material that retains the &amp;#x22;into perspective&amp;#x22; but is more free in content format than a regular journal.</image:caption>
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                                            <image:caption>We are a editorial-driven team. Therefore, when we initially planned the theme of issue 0, I expected it to maintain our consistent working method, with sufficient solid interviews as the base, to present the designers&amp;#x27; thinking and working methods in the process of &amp;#x22;drafts to product&amp;#x22;. What’s more, in issue 0, is it possible to practice more attempts in reading experience?</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/X2445479710524618650516321640610/R0277644.png</image:loc>
                                            <image:caption>Before a draft becomes a product, the material, crafts, structure and a tiny surface texture treatment may all be &amp;#x22;reasonable&amp;#x22; only after repeated deliberation. However, the people who ultimately use the product may not need or have the opportunity to understand this. Yet it is these thoughts that perfect every design. This is how the idea of collecting materials in the R&amp;#x26;D process emerged. Naturally, the third-person perspective of the entire magazine is quite weak. We adapted the designers&amp;#x27; first-person narrative to bring a material-to-text &amp;#x22;immersion reading&amp;#x22; to truly understand what choices might have appeared in every product before they come to life.</image:caption>
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                                            <image:caption>In into issue 0 we would like to discuss the &amp;#x22;value of design&amp;#x22;, especially the value of design in China today. The interviews with five different Chinese designers, collecting materials and understanding drafts were necessary work procedures.</image:caption>
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                                            <image:caption>In the past two years, 蔡烈超 Mario Tsai has paid special attention to thinking about interdisciplinary and simplified modules. He shared with us the design process of Mazha Lighting System. In the magazine, he provided his draft with a key wire during the design of the Mazha Lighting System. All the wires used in the magazine were recovered by Tsai from the exhibition.&lt;br /&gt;</image:caption>
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                                            <image:caption>李希米 Ximi Li&amp;#x27;s brand URBANCRAFT is holding its first solo exhibition in Shanghai. Recently, he has started to reconsider the possibility of a small-scale brand, so he has made a different design approach. The fabric in the magazine comes from the newly acquired Dutch brand Febrik by Kvadrat, which is the first batch of fabrics recovered by Ximi after sampling of Dutch Chair.</image:caption>
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                                            <image:caption>In &amp;#x22;Narratives&amp;#x22;, we not only present the designers&amp;#x27; personal experience, but also wish to outline the tiny but vivid appearance of Chinese design in recent decades based on the oral narratives of different ages. Perhaps in reading, you will find the same thing like we do. In China, there is no standard path to become a designer and everyone may have their own experience and opportunity. This has resulted in a completely different understanding of design.</image:caption>
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                                            <image:caption>沈宝宏 Baohong Shen is the son of a rural carpenter and became a designer after experiencing a lack of information in the 1980s. Now, outside of rationality and beauty, he cares about catching the inner power of the human. In this issue of the magazine, he shared the design process of the Rú Yì Rotary Dining Table. This is a round table made of wood and precision metal structure. The wood chips and special screws in the magazine were specially prepared by Baohong Shen during the holiday.</image:caption>
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                        <loc>https://magazineinto.com/[projects]</loc>
            
            
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                        <loc>https://magazineinto.com/studio-9-brand-identity-and-campaign-zine-1</loc>
            
            
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