• 在翠贝卡区(TriBeCa)，有一套有两片就寝区和两个卫生间的复式公寓，内部配有一台洗衣/烘干两用机和中央空调。其所在大楼是铸铁结构，带有可上锁的电梯。
曼哈顿翠贝卡区的沃克街47号#3A，是一套跃层式合作公寓。该大楼有铸铁大门和带锁的梯楼。
• 在上东区(Upper East Side)，一栋布杂风格的无电梯大楼Cherokee内，有一套一室一卫的转角公寓待售。楼内有中央洗衣房和一位常住大楼管理员。
曼哈顿上东区的东78街516号#5N，是一套位于一栋布杂风格无电梯大楼内的合作公寓，带有中央洗衣房和一位常住楼管。
Ethereal metal sculptures hint at the Beijing artist's ongoing continuum with time
Li Ying is a young, Beijing-based sculptor from Hunan province, who's gained increasing attention for her monumental metal artworks—the latest of which mesmerized audiences at a recent CAFA postgraduate exhibition. We visited her studio in Heiqiao village in the outskirts of Beijing, a place where many emerging artists can still afford to find a peaceful nest in the middle of migrant workers’ villages, old warehouses and railway barns.
She is a pupil of master Sui Jianguo, who is the former chairman of the Department of Sculpture at CAFA, and a renowned artist for his work with metals and granite. His “Jurassic Age,” the caged red dinosaurs standing in front of UCCA, have become an icon of the 798 art district.
At the core of her sculptures is a peculiar approach to space and time. “From my earliest to my latest works, I see my artistic production as a continuum, I pursue the exploration of spacial relations: my own body, the artwork I create and its communication with the surrounding environment. Time plays as well a key role as a continuum; I never feel my artworks to be complete, I consider them parts of an ongoing process where time is a substrate where new connections can be built."
In Li’s early work “Time,” her ideas about space and time take shape in a massive metal net structure which create a line of tension in the middle of an eight-meters-wide room.
I like accidental aspects to be part of my creative process.
In a process (which required three months of work), Li welded—one by one—tiny bits of metal to create two suspended, organic-looking structures, which seem to grow toward each other. As she recalls, “I started from an idea, a very simple sketch, I didn’t know what the outcome would have been, it was like something growing with me, day by day, a sequence of unexpected micro-events. I like accidental aspects to be part of my creative process.”
The mix of materials, and Li's fascination for the unexpected life of her creations, found an ideal medium in metal wire, a material which can be bended but still keeps its own inertia. “It has its own strength but at the same time can give you an idea of lightness, like it was floating in the air,” she remarks.
In her 2013 series “Cishi - Hechu” (which translates to "This Moment - Where"), wires of different colors are woven together with wood structures, visually overturning the balance of gravities and creating a continuous flow between the two media. As she points out, “The flow continues in the surrounding space, in the shadows projected on the floor and on the walls,” an aspect which makes her particularly sensitive to the features of the exhibiting space.
Her latest work “Jia - Kong” has a more explicit connection with the location where it was conceived. The artwork is jaw-dropping; a suspended, life-sized skeleton made of thousands of almost-invisible metal filaments, which was originally built inside Li's old family home back in Hunan, a few months before the whole area was torn down. The flow of relations between the artwork, the surrounding environment and the personal history here become extremely strong and poetic. As Li explains, “I saw a parallel between a skeleton made of thin wires and the fragility of my old home, at the same time I feel a sense of emptiness when I look at it, the same emptiness I feel for the disappearance of my old neighborhood, soon to be replaced by anonymous skyscrapers”.
Thanks to her extraordinary talent and personal approach to sculpture, Li has been awarded an art residency at Yishu 8 in Beijing. Her artworks will be here showcased in a solo exhibition opening 22 November 2014.
日本电讯及媒体公司“软银”公开了一个能够辨识人类情绪，与人类对话的机器人。
这款机器人名为“Pepper” （胡椒），通过“情绪引擎”和云端计算的人工智能系统来辨识分析人类的肢体动作、表情、语调和情绪。
软银表示，人们可以和“Pepper”沟通，就像人们和家人朋友沟通一样。
“Pepper”还能够执行多种任务，提供保姆、护理、急救等服务，而且具备学习和情感表达等能力。
软银社长孙正义在新闻发布会上说，“人们说其他人是机器人，因为他们没有感情，没有内心。”
“但我们在人类历史上，第一次赋予机器人情感和心灵。”
软银将在明年2月开始公开发售“Pepper”机器人，售价为19.8万日元（1,930美元，1,150英镑）。
新首席执行官，新设计师。
周四，法国奢侈时装公司爱马仕(Hermès)任命36岁的纳德杰·范内-齐布尔斯基(Nadège Vanhee-Cybulski)为其女装艺术总监。这是今年2月份就任首席执行官的阿克塞尔·杜马(Axel Dumas)的第一个重大管理行动。他是爱马仕家族的第六代成员，爱马仕家族控制着这家不公开招股公司。
范内-齐布尔斯基是从克里斯托弗·勒梅尔(Christophe Lemaire)手中接过这个职位的，勒梅尔自2010年起担任爱马仕的女装艺术总监，同时继续设计自己的同名品牌。爱马仕本周宣布勒梅尔将离开专注于自己的品牌。
36岁的纳德杰·范内-齐布尔斯基虽然是服装界的业内人士，但是圈外对她知之甚少。
这项任命显然是在贯彻杜马今年6月在年度股东大会上做出的声明，他说成衣将是该品牌扩张的主要领域之一。
范内-齐布尔斯基虽然是服装界的业内人士，但是圈外对她知之甚少。她从2011年起担任快速发展的美国品牌The Row的设计总监，之前是赛琳(Céline)和马丁·马吉拉时装屋(Maison Martin Margiela)的幕后设计师，这些品牌皆以低调奢华闻名。
“我们欢迎纳德杰的到来，”杜马在声明中说，“她的才华和过去的创作成就对我们女装成衣的继续发展来说是巨大财富。她将专心致志为我们公司服务。”
周四，爱马仕的股价下跌了0.8%，降至265欧元，约合356.80美元。
杜马觉得强调范内-齐布尔斯基只为爱马仕工作很重要，这表明时装界的两类公司之间的分歧越来越大：一类公司要求设计师全身心投入，因为目前一般要求设计师一年设计四个或更多系列；另一类公司允许设计师兼顾多个品牌。
例如，路威酩轩(LVMH)集团允许拉夫·西蒙斯(Raf Simons)在担任迪奥(Dior)的艺术总监的同时兼顾自己的同名男装品牌；它还在任命乔纳森·安德森(Jonathan Anderson)担任罗意威(Loewe)的创意总监时同意帮助他扩张自己的同名品牌。
开云集团(Kering)允许王大仁(Alexander Wang)在担任巴黎世家(Balenciaga)的创意总监的同时继续为自己的同名服装公司做设计；去年该集团和宝缇嘉(Bottega)的长期创意总监的托马斯·迈耶(Tomas Maier)组建了一个合资公司，以支持他的同名品牌。
爱马仕的决定正好相反，不过这个决定符合爱马仕的一贯作风——它的男装成衣长期以来都是由该公司的全职设计师韦罗妮克·尼沙尼安(Véronique Nichanian)执掌的。
一周前，爱马仕刚公布了上半年的业绩，总收入为19亿欧元，约合26亿美元，据说以恒定汇率计算的话，比2013年上半年增长了12%。
成衣和配饰增长了16%，高于皮具和丝绸的增长。皮具和丝绸是爱马仕的两个传统支柱。该公司计划下个月公布这一时期的完整金融数据。
范内-齐布尔斯基将成为第一个领导该品牌女装成衣的女人。在勒梅尔之前，爱马仕的女装是由让·保罗·高缇耶(Jean Paul Gaultier)设计的，在他之前是马丁·马吉拉(Martin Margiela)——这两位设计师就任期间都同时经营自己的品牌。再往前，在20世纪90年代中期以及之前，它是由一个内部团队设计的。
服装业似乎欢迎这个消息。《Vogue》杂志意大利版的有影响力的主编弗兰卡·索萨妮(Franca Sozzani)认为范内-齐布尔斯基相对年轻，但有真正的经验，这两者结合是她的优势。
“这应该能行！”她在邮件中写道。
范内-齐布尔斯基将在10月份的2015春夏女装展示季之后上任。她为爱马仕设计的第一个系列将是明年3月份在巴黎展示的2015秋冬系列。
