People in Shanghai alleys are isolated from the modern city. In the past, the buildings were more for wealthy families. After the Culture Revolution, outsiders gathered together with local residents and gradually the buildings became slums. Although there are many changes, the humanity part is eternal for Shikumen. They smile. They cry. They chase. They hope. They despair.

在石庫門的人們似乎與城市隔閡。在過去，大多數建築屬於富人家庭。文革之後，外地人與當地人聚集在一起逐漸建築變成了貧民窟。儘管有許多的變化，人性的部分是永恆的。他們微笑。他們哭泣。他們追逐。他們期待。他們絕望。

在石库门的人们似乎与城市隔阂。在过去，大多数建筑属于富人家庭。文革之后，外地人与当地人聚集在一起逐渐建筑变成了贫民窟。儘管有许多的变化，人性的部分是永恆的。他们微笑。他们哭泣。他们追逐。他们期待。他们绝望。

Chairs can represent the personalities of alleys and people. Gradually, chairs become an icon of civilization and memory of the owner. Even if the residents are forcibly moved out, the chairs are still there to take the place of the existence their souls.

椅子可以代表里弄和人們的性格。逐漸地，椅子變成文明的象徵與擁有者的記憶。即使居民會被迫搬遷出去，椅子仍存留在那取代他們的靈魂。

椅子可以代表里弄和人们的性格。逐渐地，椅子变成文明的象徵与拥有者的记忆。即使居民会被迫搬迁出去，椅子仍存留在那取代他们的灵魂。

In China, people usually criticize generations after the 1980s or 1990s and even 2000s. These young generations are more open-minded than the old generations but they have to accept numerous changes in the big era. One aspect is the appearance. Some posters in Shanghai alleys show the popularity of Korean plastic surgery among young people. Another aspect is the pressure for the young generations. Due to the one-child policy and the fast speed of economic improvement, these generations have to not only make a living when they are in society but also raise their parents. Housing price in Shanghai is even higher than the price in New York City. The future of these generations is questioned.

在中國，人們通常批判80後90後甚至00後。這些年輕人比老一代更開放，但他們必須接受大時代的數不盡的變化。一方面體現在外表。一些在上海里弄的畫報展現了年輕人之間熱衷的整容。另一方面是年輕人的壓力。由於獨生子女政策和經濟的飛速發展，這些年輕人不但需要在社會上生存並且還需要養老。上海的房價甚至高於紐約市。這些年輕人的未來是被質疑的。

在中国，人们通常批判80后90后甚至00后。这些年轻人比老一代更开放，但他们必须接受大时代的数不尽的变化。一方面体现在外表。一些在上海里弄的画报展现了年轻人之间热衷的整容。另一方面是年轻人的压力。由于独生子女政策和经济的飞速发展，这些年轻人不但需要在社会上生存并且还需要养老。上海的房价甚至高于纽约市。这些年轻人的未来是被质疑的。

There is no Asian face on models in Chinese clothes stores. Especially in the city of Shanghai, more westernized elements are presented as mainstream culture. The origin can be traced back to modern Shanghainese culture during the period of Republic of China (1912-1949). Lu Xun, a leading figure of modern Chinese literature, published a prose in 1934 titled Have Chinese Lost Their Self-Confidence? The problem is still existing nowadays.

中國的服飾店沒有亞洲面孔的模特。尤其是在上海，更多西方化的元素被展現成主流文化，其源頭可以追溯到民國時期的上海文化。魯迅，近代中國文學的代表人物，在1934年發表了一篇文章名為《中國人失掉自信力了嗎》。這類問題至今仍存在。

中国的服饰店没有亚洲面孔的模特。尤其是在上海，更多西方化的元素被展现成主流文化，其源头可以追溯到民国时期的上海文化。鲁迅，近代中国文学的代表人物，在1934年发表了一篇文章名为《中国人失掉自信力了吗》。这类问题至今仍存在。

Animals in Shikume alleys have their emotions and attitudes towards life. It’s precious to see the harmony between human beings and animals. Especially in ruins of Shikumen, they act like humans to express the loneliness and emptiness.

石庫門里弄中的動物有他們的情感和對生活的態度。很珍貴去發現人與動物的和諧。尤其在石庫門的廢墟中，他們表現得像人類一樣表達孤寂與空曠。

石库门里弄中的动物有他们的情感和对生活的态度。很珍贵去发现人与动物的和谐。尤其在石库门的废墟中，他们表现得像人类一样表达孤寂与空旷。

Shanghai alley culture has the intimate emotion from its skin. Although demolition takes places everywhere in Shanghai, the patience and tenderness are still in every corner. Pureness becomes tolerance against the violence.

上海里弄文化有來自肌膚的親密情感。儘管拆遷在上海幾乎所有地方發生，耐心和溫柔仍然在每個角落散發。純粹變成對抗暴力的忍耐。

上海里弄文化有来自肌肤的亲密情感。尽管拆迁在上海几乎所有地方发生，耐心和温柔仍然在每个角落散发。纯粹变成对抗暴力的忍耐。

“…all photographs are self-portraits.” – Minor White.

“所有照片都是攝影者的自拍”。—Minor White

Installation art is pretty common among Western contemporary art. The photographer here is criticizing the meaning of them and the waste of materials by documenting the original geometry in Shikumen alleys.

裝置藝術在西方當代藝術中十分普遍。攝影者通過紀錄原始的石庫門里弄中的幾何，批判其意義和對藝術材料的浪費。

装置艺术在西方当代艺术中十分普遍。摄影者通过纪录原始的石库门里弄中的几何，批判其意义和对艺术材料的浪费。

As Chinese writer Wang Anyi's novel The Song of Everlasting Sorrow describes, the lichen is Shanghai’s special tenderness. In the 21st century, the lichen and abstract patterns are found in alleys next to the demolition place. They represent the faces of the former residents, their memories, and the changing seasons. These paintings were all made by nature and without any artificial effects, which can be traced back to the spirit of Taoism in the 4th century BC.

正如中國作家王安憶的小說《長恨歌》描述，青苔是上海獨有的溫柔。在二十一世紀，青苔和抽象的圖案遍佈於廢墟旁的里弄當中。他們代表了先前的居民，他們的記憶，和改變的四季。這些繪畫出自自然之手不加雕琢，可追溯到公元前4世紀的道家精神。

正如中国作家王安忆的小说《长恨歌》描述，青苔是上海独有的温柔。在二十一世纪，青苔和抽象的图案遍佈于废墟旁的里弄当中。他们代表了先前的居民，他们的记忆，和改变的四季。这些绘画出自自然之手不加雕琢，可追溯到公元前4世纪的道家精神。

Religion's essence is based on magic culture. People made the sacrifice for nature by ritual. Gradually, the habits become religions. In some forgotten places in Shanghai, there are still magic-culture events happening. However, the magic of reality is heavier than the magic of spirit. The changes in Shanghai is like a magic entertainment show. During one year or even one month, there will be one demolition or one new building construction on the street. Under this heavy pressure of reality, God is still trying to protect the essence of Shanghainese culture.

宗教的本質是基於巫文化。人們通過儀式來祭祀自然。逐漸這些習慣成為了宗教。在上海一些被遺忘的地方，仍舊有巫文化的儀式發生。然而，現實的魔力遠比精神的魔力要沈重。上海存在的改變就像是魔術表演。在一年甚至一個月之內，街上就會發生拆遷或新工地。在這樣的現實壓力之下，神仍然試著去保護上海文化的本質。

宗教的本质是基于巫文化。人们通过仪式来祭祀自然。逐渐这些习惯成为了宗教。在上海一些被遗忘的地方，仍旧有巫文化的仪式发生。然而，现实的魔力远比精神的魔力要沉重。上海存在的改变就像是魔术表演。在一年甚至一个月之内，街上就会发生拆迁或新工地。在这样的现实压力之下，神仍然试著去保护上海文化的本质。