「在熟悉的地圖座標上，探索城市新表情」— 攝影師 Danny 的旅行心景

 
 
 

一個尋常的東京早晨，百貨公司尚未開門，門口早已排起一列長長而齊整的隊伍。替家人購買土產的攝影師 Danny 亦站在其中。但讓他記住那個早晨的，不是後來買到了什麼，而是隊伍本身的樣態。每個人之間的距離幾乎一致，沒有人插隊，沒有人交頭接耳確認前後順序，隊伍就那樣自然且安靜地宛如一條被無形尺規丈量過的線，無限延伸下去。

「他們排隊的整齊度超乎我想像的整齊，大家很有秩序地依序排下去，好像他們自己就會習慣照秩序走。」在多數人眼裡，排隊或許是枯燥的規矩，但對 Danny 而言，這份眾人依循著秩序前進的默契，讓他感到安心。

 
 

  • An ordinary Tokyo morning. Before the department store had even opened its doors, a long, immaculately neat queue had already formed. Photographer Danny Li, waiting to buy souvenirs for his family, stood among them. Yet, what etched that morning into his memory wasn't what he eventually bought, but the sheer form of the queue itself. The distance between each person was practically identical. No one cut in line; no one whispered to confirm their place. The queue just naturally and quietly stretched on, like a line drawn by an invisible ruler, extending infinitely.

    "The neatness of their queue was beyond anything I could have imagined. Everyone lined up in such an orderly fashion, as if following order was just deeply ingrained in them." To most, queuing might be a tedious rule, but for Danny, this collective, unspoken agreement to move forward with order brought him a profound sense of comfort.

 
 

攝影師．Danny Li

 
 

「我盡量讓自己在秩序內，找到屬於自己的規則。」對秩序與規則的追求，是Danny 和世界相處的方式。他鏡頭裡的畫面，像是沿著某條看不見的軸線，把空間攤開來，順著骨架重新讀過一遍。構圖裡，述說著牆與牆之間的對稱關係，轉角與轉角的精準對齊，前景和後景之間被刻意安排過的縱深。但若你因此覺得他的照片冰冷或機械，那就誤會了；在隱性的縱橫之間，他總會留有一份引導溫度和空氣流動的呼吸感，讓觀者能進入和停留。

 
 

  • "I try to find my own rules within the established order." This pursuit of order and structure is how Danny interacts with the world. The images captured through his lens seem to unfold space along an invisible axis, rereading it along its very skeleton. His compositions speak of the symmetrical relationships between walls, the precise alignment of corners, and the deliberately arranged depth between foreground and background. But if you assume his photographs are cold or mechanical, you'd be mistaken. Amidst these hidden horizontal and vertical lines, he always leaves room to breathe—a sense of warmth and flowing air that invites the viewer to enter and linger.

 
 
 
 
 
 

風險降低一點，比較可以享受當下



如果將這套空間語法套用在旅行上，那麼他的首要步驟，同樣是先把不可控的變數與雜訊排除乾淨，建立出一套熟悉的框架。這麼一來，因為框架是熟悉的，他能在裡面打開感官，不需要花心思反覆確認旅程上的瑣碎小事，自在地去體驗所有想做的事情。

因此，熟悉中帶著一點陌生感的東京，便是他時常造訪的城市之一。東京並不是一座「去過就體驗完畢了」的地方，這座城市本身的特性，正好回應了他的旅行模式。每隔幾個月，某條街上的店家可能就換了一輪，新的展覽進駐了美術館，某個區域冒出一間沒見過的藝術空間。對一個不追求地理上的移動，而是追求同一個座標上深度的人來說，東京是理想的他方，每次都給人一張熟悉的臉，但表情從來不完全一樣。

 
 

  • Lowering the Risks to Embrace the Present

    If this "spatial grammar" were applied to travel, his first step would be exactly the same: filter out the uncontrollable variables and noise to establish a familiar framework. Because the framework is familiar, he can fully open up his senses within it. Freed from the need to constantly worry about trivial travel logistics, he can effortlessly experience everything he sets out to do.

    Consequently, Tokyo—a city that blends familiarity with a touch of the unknown—is one of his most frequently visited destinations. Tokyo isn't a "been there, done that" kind of place; the city's inherent nature perfectly resonates with his style of travel. Every few months, the shops on a given street might completely turn over, new exhibitions move into museums, or an unseen art space suddenly pops up in a certain district. For someone who seeks depth within a single coordinate rather than constantly hopping across geographical locations, Tokyo is the ideal "elsewhere." It always presents a familiar face, yet its expression is never exactly the same.

 
 
 
 
 
 
 
 

況且，就算去了好幾次，他仍有太多地方還沒去過，最近又找到了幾個平常不會去的區域，像是龜有，一個大概只有喜歡《烏龍派出所》的人才會特別知道的地方。

言談中 Danny 分享到，當未知的風險被剔除後，心境反而能真正放鬆。也許是悠閒走進一間新的美術館，也許沒有目的在巷弄裡走晃，或者只是在某個路口站一會兒，看光線灑在建築物上的樣子。

 
 

  • Besides, even after multiple visits, there are still countless places he has yet to explore. Recently, he discovered a few areas he wouldn't typically visit, like Kameari—a neighborhood likely only known to die-hard fans of the anime KochiKame.

    During our conversation, Danny shared that once unknown risks are eliminated, his mind can truly relax. This might mean leisurely strolling into a new museum, wandering aimlessly through alleys, or simply standing at an intersection for a moment just to watch the way the light spills across the buildings.

 
 
 
 
 
 
 
 

留一點空白的時間給自己去探索



這些年來，他開始把過去塞得太滿的東西，一樣一樣放下來。他不再覺得需要跟每個人交代自己在做什麼、去了哪裡，也不再追求每一段關係都維持熱絡，「我變得好像不需要全部的填滿，」他說，「也不用到處交際，而是把自己包在中間，把內在鞏固好。」聽他講這些時，你會感覺到一份他油然而生的篤定，像是一個人終於想清楚了，自己真正需要的空間有多大，然後把多出來的部分還給自己。

這份留白的心境，投射在旅途上，反而讓他看見以前趕行程時看不見的東西。他隨著自己的好奇心走出來的私人地圖，不一定是壯觀的標記，但每一個都是真正想停下來觀看的東西。

 
 

  • Leaving Blank Space for Self-Exploration

    Over the years, he has started to let go of the things that once overstuffed his life, one by one. He no longer feels the need to report his whereabouts or activities to everyone, nor does he strive to keep every single relationship constantly active. "I’ve become someone who doesn't need to fill up every void," he says. "I don't need to socialize everywhere; instead, I wrap myself in the center and fortify my inner self." Listening to him, you can sense a natural, arising certainty. It’s like a person who has finally figured out exactly how much space they truly need, and has decided to return the excess back to themselves.

    When projected onto his travels, this mindset of "leaving blank space" actually allows him to see things he used to miss when rushing through itineraries. The personal map he draws, guided purely by curiosity, might not be filled with spectacular landmarks, but every pin represents something he genuinely wants to stop and observe.

 
 
 
 

他用「休息，也是修行」來形容現在的旅行。修行這個詞很有意思。他坦言，旅途上看到的東西也不知道會在什麼時候派上用場，在他看來，就是給自己的眼睛多一點材料，讓那些材料慢慢沉澱，不急著看見成果，但他相信那些事物會在某個地方留下痕跡。

就像留白本身，重點不是那個空白裡現在有什麼，而是你終於有了空間，讓潛在的東西，可以慢慢滋長出來。

 
 

  • He describes his current way of traveling as: "Resting is also a form of practice." The word practice (cultivation) is fascinating here. He admits he has no idea when the things he sees on the road will come in handy. To him, it's simply about giving his eyes more raw material and letting that material slowly settle. He’s in no rush to see immediate results, but he believes these experiences will inevitably leave their mark somewhere.

    Just like the concept of negative space itself, the point isn't what is currently in that emptiness. The point is that you finally have the room for latent things to slowly grow and emerge.

 
 
 
 
 
 

先走進去，再決定按不按快門



你可能會以為一個拍空間的人，推開門的瞬間就在構圖了，眼睛已經在找角度，手已經摸向相機。但 Danny 不是。他進到一個地方，第一件事是把相機留在手邊，先用腳走。簡單繞一圈，不急著看見畫面，而是先感受這個空間的邏輯，動線怎麼走、光從哪裡進來、人通常在哪裡停下腳步。他甚至會偷偷觀察其他人在拍什麼，看看他們站在哪個位置、鏡頭朝向哪裡，好奇觀察別人讀到了這個空間的哪些事。

 
 

  • Step Inside First, Decide to Shoot Later

    You might assume that a spatial photographer starts framing the shot the moment they push open a door—eyes scanning for angles, hands instinctively reaching for the camera. But not Danny. When he enters a place, the first thing he does is keep his camera by his side and let his feet do the exploring. He’ll take a simple walk around, not rushing to find the perfect frame. Instead, he first feels the logic of the space: how the pathways flow, where the light enters, and where people naturally pause. He even subtly observes what others are photographing, noting where they stand and where their lenses are pointed, curious about how other people are reading the room.

 
 
 
 
 
 

這個習慣不分工作和旅行。在東京街頭是這樣，進到一間美術館是這樣，走進業主的房子拍攝空間也是這樣。他先讓自己成為那個空間裡的其中之ㄧ，感受過了，再決定要不要拿起相機。

「除非是真的一進去就看到，這可以拍，才會直接拿起相機。」現在的他更清楚自己在找什麼，拍之前，腦袋裡也許已經有一個隱約的畫面，可能是他想像中的構圖，也可能是剛才走動的時候瞥見過、但還沒抓住的某個瞬間。

相較於以前，快門按下的次數變少了，但每一張都更深刻反映著內在景況。

 
 

  • This habit remains the same whether he’s working or traveling. It’s true on the streets of Tokyo, inside an art museum, or when walking into a client's home for a shoot. He first allows himself to become a part of the space. Only after feeling it out does he decide whether or not to raise his camera.

    "Unless I walk in and immediately see it—that this is the shot—only then will I grab my camera straight away." Today, he is much clearer about what he’s looking for. Before shooting, he might already have a faint image in his mind; it could be a composition he imagined, or a fleeting moment he glimpsed while walking around but hasn't quite captured yet.

    Compared to the past, he presses the shutter less frequently, but every single frame more profoundly reflects his inner landscape.

 
 
 
 
 
 
 
 

面對旅行，Danny 並不急著去下一個未曾到訪的異地，逼迫自己去進行充滿未知的冒險，而是選擇將自己鞏固好，在安穩的頻率中，把自己做到最好。「被定型也沒有不好，如果在熟悉的地方能駕輕就熟，失誤率低，拍出來沒有九十分，至少也有八十分起跳，進而從中找出更多不一樣的東西。」

這份穩紮穩打的邏輯，是他現在的心境，也是他旅行的節奏。就像他鏡頭裡的那些空間一樣，框架是清楚的，軸線是穩定的，但線與線之間，總是留著讓光走進來的餘地。

 
 

  • When it comes to travel, Danny is in no hurry to rush to the next uncharted destination or force himself into unknown adventures. Instead, he chooses to ground himself, performing at his best within a steady, stable frequency. "There's nothing wrong with being defined by a style. If you can navigate a familiar place with ease, the margin of error is low. Even if the photos you take aren't a 90, they’ll start at an 80 at least. And from there, you can discover even more diverse things."

    This steady, step-by-step logic is his current state of mind, as well as his rhythm of travel. Much like the spaces in his photographs: the framework is clear, the axes are stable, yet between the lines, there is always room left for the light to enter.

 
 
 
 
 
 

Danny 的東京私房地圖

 
 

01 國立新美術館 NACT


國立新美術館由建築師黑川紀章以「森林中的美術館」為概念設計，南側波浪狀的玻璃帷幕隨著日照角度變化，在室內投射出不斷移動的光影軌跡。場館免費對外開放，即使不購票看展，光是在大廳感受光線與建築的對話、四處擺放的設計師名椅，就值得駐足停留。此外也推薦順道步行至一旁由安藤忠雄設計的 21_21 DESIGN SIGHT，外觀低調，七成空間藏於地下，走進去才會發現內部的開闊遠超預期。

 
 

  • Conceived by architect Kisho Kurokawa as a "museum in the forest," The National Art Center, Tokyo, features an undulating glass facade along its southern edge. As the sun traces its daily arc, the glass casts an ever-shifting choreography of light and shadow across the interior. The building's public spaces are free to enter; even if you skip the ticketed exhibitions, the lobby alone is worth a lingering visit. Simply absorbing the quiet dialogue between the natural light and the architecture, or resting in one of the iconic designer chairs scattered throughout, is an experience in itself.

    While you are in the area, a short stroll over to the adjacent 21_21 DESIGN SIGHT, masterminded by Tadao Ando, is highly recommended. Its exterior is intentionally understated, with seventy percent of the structure concealed underground. It is only upon stepping inside that you discover a profound sense of expansiveness that far exceeds all expectations.

 
 
 
 

📍 國立新美術館 THE NATIONAL ART CENTER, TOKYO
7 Chome-22-2 Roppongi, Minato City, Tokyo 106-8558

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02 SKWAT 龜有藝術中心


2024年11月開幕，由設計事務所 DAIKEI MILLS 主理，藏身於龜有站前的鐵道高架橋下。這裡大概不會出現在東京主流攻略裡。空間集結了攝影集與藝術書籍倉庫「twelvebooks」、二手黑膠唱片行「VDS」，以及咖啡店「tawks」，中央以鷹架搭建出架空的展示結構，在有限的空間裡創造出意想不到的層次感。沒有華麗的招牌，沿著高架下的道路走，看見亮著的霓虹燈就到了。

 
 

  • Opened in November 2024 and helmed by design studio DAIKEI MILLS, this hidden gem is tucked away beneath the elevated railway tracks just outside Kameari Station—a spot highly unlikely to grace mainstream Tokyo itineraries. The venue brings together twelvebooks (a warehouse for photography and art books), VDS (a secondhand vinyl shop), and tawks cafe. At its core, an elevated display structure built from scaffolding creates an unexpected sense of layering within the confined space. There is no flashy signage; simply follow the road beneath the tracks, and you'll know you've arrived when you spot the glowing neon.

 
 
 
 

📍 SKAC (SKWAT KAMEARI ART CENTRE)
3 Chome-26-4 Nishikameari, Katsushika City, Tokyo 125-0002

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03 MIHO 美術館（MIHO MUSEUM）


MIHO 美術館雖不在東京，但私心想推薦。位於滋賀縣甲賀市信樂町的山中，由貝聿銘以陶淵明〈桃花源記〉為靈感設計。Danny 提起這個地方時，語氣裡有一種被回報的滿足。從接駁站下車到本館之間有一段不短的路程，途中穿過一條隧道，牆面會隨季節映入櫻花或紅葉的色澤。出了隧道，迎面是整片隨時節變換的山景。他造訪時並非櫻花季，滿眼的綠同樣讓他印象深刻。「光是從隧道走到本館這段路，就值得你慢慢走，景色都不一樣，如果不同季節去，應該會有更不一樣的效果。」對他來說，那段路本身就是目的地。

 
 

  • Though the MIHO Museum sits outside of Tokyo, it earns a highly personal recommendation. Nestled in the mountains of Shigaraki in Shiga Prefecture, the museum was designed by I.M. Pei, who drew inspiration from the classic Chinese tale The Peach Blossom Spring. When Danny speaks of this place, his tone carries a deep sense of fulfillment. There is a considerable walk from the reception pavilion to the main building, leading you through a tunnel whose walls catch and reflect the seasonal hues of cherry blossoms or autumn foliage. Emerging from the tunnel reveals a sweeping panorama of mountains that morph with the time of year. While he didn't visit during the cherry blossom season, the overwhelmingly lush greenery left a profound impression. "Just the walk from the tunnel to the main building is worth taking slowly. The scenery constantly shifts, and visiting in different seasons would undoubtedly yield completely different experiences." For him, that path is a destination in its own right.

 
 
 
 

📍 MIHO MUSEUM
日本〒529-1814 Shiga, Koka, Shigarakicho Tashiro, 桃谷300−300 桃谷300

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04 東京公廁巡禮（THE TOKYO TOILET）


Jamie 送了他一本關於東京公廁設計的書，他於是在當地找了好幾座。由日本財團推動的「THE TOKYO TOILET」計畫，邀請安藤忠雄、隈研吾、坂茂、伊東豊雄等16位建築與設計大師，在澀谷區內打造了17座兼具美感與機能的公共廁所。Danny 說，即使不使用，光是在旁邊看建築本身就很有意思。他打算找時間把17座全部走完，並整理出自己的東京公廁地圖。

 
 

  • After Jamie gifted him a book on Tokyo's public restroom designs, Danny made it a point to track down several of them. Driven by the Nippon Foundation, THE TOKYO TOILET project invited 16 master architects and designers—including Tadao Ando, Kengo Kuma, Shigeru Ban, and Toyo Ito—to craft 17 public restrooms across Shibuya Ward that seamlessly blend aesthetics with functionality. Danny notes that even if you don't need to use them, simply observing the architecture is fascinating. He plans to eventually visit all 17 locations and curate his own personal map of Tokyo's public toilets.

 
 
 
 

📍 THE TOKYO TOILET
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05 販賣機搜集


這是 Danny 個人嗜好。每到日本他一定四處投飲料販賣機，而且特別著迷於那些出現在意想不到之處，偏僻巷尾、荒涼路邊的孤獨機台。下次在東京走跳時不妨留意，那些獨自發光的販賣機，或許是城市裡最不經意的有趣風景。

 
 

  • This last one is Danny’s personal quirk. Whenever he visits Japan, he makes a point of buying drinks from vending machines everywhere he goes. He is especially captivated by the solitary machines that crop up in the most unexpected places—at the dead end of a remote alley or along a desolate stretch of road. The next time you find yourself wandering through Tokyo, keep an eye out for them; those quietly glowing, solitary vending machines just might be the city's most unintentionally charming scenery.

 
 
 
 

Photography by/ Danny
Interview、Text/ ChichiL, Jamie Lo

 
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