An ignota vituperata sea, ne mei tantas insolens maiestatis. In ius erat summo, elit nonumes euripidis eu quo, ne choro putent detraxit mea. His fugit intellegat in. Ex mea causae constituto. Noster assueverit temporibus eos an, enim tibique ius ei. Equidem incorrupte in vix. Qui enim tibique ius ei. An ignota vituperata sea, ne mei tantas insolens maiestatis. In ius erat summo elit. Et est essent honestatis, mel nisl euismod commune et. Tibique expetenda mnesarchum duo id, unum consequat quo ea, te duo sumo omnis qualisque.
In 2015, Belgian photographer Johan Lolos spent one week in Jordan to capture the raw beauty in the desert dunes, canyons and ancient wonders of the Arab nation.
It’s common these days, with the proliferation of mass internet content, that successful artists find themselves at the mercy of the media, and in that, having to explain what their artwork represents or how it’s defined.
An oasis might best be described as a peaceful spot in an otherwise hectic place – an escape, however brief, offering solace: an opportunity to breathe in and recharge. Strewn along 131 lush acres of forest in the Hudson River Valley, Hudson Woods offers an opportunity for city dwellers yearning to reconnect with nature (and with each other) in a deep and authentic way. The architect-designed community, nestled within the sprawling and gorgeous landscape of Kerhonkson, NY, serves as an oasis tucked away 90 miles from Manhattan, close enough to be reachable via a stress-free drive, yet far enough to truly be an escape. With the vision of creating and providing “authentic, meaningful experiences at every turn,” Drew Lang, principal at Manhattan-based Lang Architecture developed the project, which broke ground in 2013, and has been delivering on that promise with a keen focus on simplicity, sustainability and quality, all rooted in nature.
Set amid forest, meadows and sweeping views of the Catskill Mountains, Hudson Woods blends modern design with elements found in its natural surroundings. All 26 of the architect-designed homes, which range from 2.7 to 12 acres and vary between two distinct, highly customizable designs, are crafted with natural materials, sourced from surrounding areas, and quite literally embedded in their natural landscape, providing more than just a dwelling – an experience. The sustainable design makes for high-performing homes that not only borrow from their surroundings but also fit in among them with minimal impact, setting new standards for sustainable design. Environmentally minded upgrades for homes include a solar energy system, a greenhouse and an electric car charger, just to name a few. The design, albeit meticulous, is rooted in a simple imperative: “Getting back to the things that matter and things that you feel passionate about,” Lang says. “Authentic and slow living is a key element of the Hudson Woods experience.”
Nature is just one of the sources from which Lang drew inspiration for Hudson Woods. “The area is experiencing a major revival with designers, artisans, makers and craftspeople at the forefront. There is a real sense of community and collaboration in the area,” he says. It’s this community collaboration that has complemented Hudson Woods’ design and provided another distinct feature, homes styled and furnished by local craftsmen, furniture-makers and artists, bringing the nature-meets-hyper-local-nurture approach full circle. “Local makers inspire us, and we inspire them,” Lang says. “[Our relationship] is symbiotic. They are critical to the story of Hudson Woods. They define the interior sensibility. Hudson Woods would not be Hudson Woods without them.” So, where does Lang himself draw inspiration to continue to innovate? “A sense of wonder and adventure. Nature, light, simplicity and silence,” he states. And Hudson Woods might just be the ideal reflection of that inspiration.
When asked to describe his favorite Hudson Woods feature, he replies, “Our interior doors. They are solid wood with a simple v-groove detail. I love our doors.” His response seems fitting, given his simple description of the Hudson Woods experience: “one that opens doors to discovering the things that matter. Family, friends, sport, craft. Hudson Woods lets you access it all,” Lang says. Seems like the experience lies just on the other side of that extraordinarily crafted wood door.
Visit Hudson Woods at 101 Ridgewood Rd, Kerhonkson, NY | www.hudsonwoods.com
You don’t have to quit your job to see the world, but you also don’t have to spend your vacation days in a blur of frantic border-hopping. Discerning travelers are taking it slow and diving deeper into destinations for more memorable journeys.
With the eco-tourism trend gathering momentum within the tourism industry, it’s clear that travelers are becoming increasingly mindful of lowering their impact on the destinations they visit. Read more “Kura Design Villas”
Water. It is one of the most powerful and relatable elements on our planet. It’s changeability from soothing, reflective glass to waves that roar and crash – loud and angry – mirror our own range of human emotions.
– Letter From The Editor –
I embarked on my first trans-Pacific journey from New York to Hong Kong when I was ten-months old. Year after year, I would make the trip to pay homage to my immediate family living abroad. I owe the innate travel bug to my parents, who allowed me to experience the exhilaration of touching down in a foreign land from an early age. My travels over the past decade have brought me to more than twenty countries, from unearthing the ancient ruins of Bagan (Myanmar) to circling Iceland on the One Ring road in a camper van.
Living in New York has intensified my desire for the necessity of constant movement. The urban jungle breeds materialism and a luxury of excess, characteristics that are quickly stripped away when you are standing at the edge of the Earth. It is when I am far beyond the reaches of the metropolis that I remember the simple pleasures in life and how being in a state of wonderment is an accomplishment on its own. Travel is about the journey, not the destination. Every experience is a culmination of our own worldview and acknowledging that travel has the power to deconstruct the way we perceive our way of life. It is about the people we meet along the way who challenge the way we think, inspire us to create and electrify our lives.
Being globally minded is more than a generational trend; it is an understanding of the interconnectedness in today’s modern society and the influence it holds for us to make an impact. It is an appreciation for a heightened social awareness and having a personal spiritual sense of the world. It is this notion that I hope to share with you: a mindset that has become our global generation. Each story in this inaugural issue illuminates individuals who are forging their path as leaders of this movement. We are blessed with one life to live on this incredible planet, and every day, we are given a new chance begin our journey.
Founder / Editor-In-Chief
- 128 pages of exclusive print content
- Off-set printed; Perfect bound; Printed proudly in New York, USA
- Luxurious 100# matte cover stock with a dull UV coating; 80# Influence gloss text
Spotlighting the alluring ‘off-the-beaten-path’ nature of Nicaragua, Electrify Mag chose Cerro Negro volcano at a 2,388 foot elevation and the sustainable luxe Jicaro Ecolodge located at Lake Nicaragua as a backdrop for the “Global Generation” cover story featuring Ashley Smith photographed by Electrify Mag’s Creative Director, Christopher DeMairo.
- Jimmy Chin Photo Story / Q&A: With a devotion to exploration and art, National Geographic photographer, Jimmy Chin combines both passions on the world’s hardest expeditions.
- Ray Collins Photo Story / Q&A: Capturing the fleeting moments of a wave’s journey to dissipation, award-winning photographer, Ray Collins feels more at home floating in saltwater with his camera than anywhere on land.
- Marianna Jamadi Photo Story / Narrative: Wild, untouched and captivating, Nicaragua’s lush landscape has captivated photographer Marianna Jamadi, who shares what has made the Central American country one of her favorite off-the-beaten-path escapes.
- Elaine Ling Photo Story / Narrative: Elaine Ling is an exuberant adventurer, traveler, and photographer who is most at home backpacking her view camera across the great deserts of the world and sleeping under the stars.
- Johan Lolos Photo Story / Narrative: Adventure photographer Johan Lolos swaps misty mountains for the drama of Jordan’s red desert landscapes.
- Reuben Wu Photo Story / Narrative: Surrealist photographer, Reuben Wu takes us on a sonic exploration of his other-worldly escapes.
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In the heart of Brooklyn, New York live two of the most iconic street artists of all time. Collectively known as FAILE, Patrick McNeil and Patrick Miller are best recognized for their artistic renderings of pop culture collages that cover the city streets of New York. It’s the ultimate DIY project: appropriating images, chopping them up, mashing them together, then taking it upon themselves to show the world. Since their inception back in 1999, FAILE, like many successful artists, have gone from the streets to the gallery in an attempt to tell their story on a broader scale. These myths, as the guys like to put it, can now be seen in a variety of forms, from a spinning prayer wheel in the middle of Times Square, to a neon-drenched arcade in Miami Beach. Though times have certainly changed for FAILE, their vision remains the same.
What is your memory of street art in the late 90s/early 2000s?
It was just so new, having moved to New York and experiencing (street art) for the first time. It was so active for the participants and even the way it wove into the city. It was alive, there and gone, but continually to be found. Soho, the Meatpacking District, the Lower East Side – such a great amount of work going on by a small group of artists that have really grown to help create a new aesthetic and a new movement, really. I guess today when we look around, you just don’t see that risk any more – not just in putting work up, but the small pieces where artists were just willing to put up work they were doing, to experiment, real-time in a public forum. It almost didn’t matter that much what it was; it was the act of seeing artwork and interacting with it on your walk home or going out. You just saw something raw and fresh happening, and if you were aware of it, you saw this great dialogue happening between artist/artist and artist/public. Things were slower and more personal. There was no social media tie to anything. The artwork was only shared and documented through personal photo books and magazines. Walls had time to develop, and because they weren’t static murals, there wasn’t the feeling that you couldn’t add to something. It wasn’t concerned about how many likes it got or the market or the system of art. It was an act that existed in most cases just to be heard and be seen. That was really romantic from a creator’s point of view.
When you first began pasting, what was the best part of that experience as a whole? Did you enjoy the thrill or was it out of your comfort zones?
I think the thrill of putting work up was one thing, but I think it was also about seeing the work live on the street. Seeing it be alive like that in the elements, how it would change, get written on, torn and aged by time and weather. We would often go back and document work along the way – start a wall and then continue to come back and keep that going. The whole act of scouting a spot, making a great piece to put on it, the act of getting up and then enjoying that as you pass by over time was very holistic. Even to this day, remembering great pieces that were up on a certain spot… We still get people [who] fell in love with images on the street, and they convey to us about the relationship they had with a certain piece as they would walk by it every day.
When you walk the streets of New York, what do you notice most? What’s your personal vision of the city?
I think [New York] has changed over the years. First moving to New York, so much of it was about surfaces, signage and graphics, the elements of the street culture. After being here for 18 years and admittedly seeing so much of it change and gentrify, I think the street is not as captivating as it used to be in that original context – not to say it’s bad; it’s just different. Street art in a raw form, with smaller pieces sprinkled around doesn’t exist like it did 15 years ago. Much of the city is cleaner and potentially more homogenous from the way of signs and symbols via the sort of “mom and pop” shops. It’s less weird, a little less character. That said, there are still visual moments every week that surprise and inspire in new ways we don’t always expect. We try to stay open and look for those new breadcrumbs that lead us down a new path.
If you were to think of your street work as a sort of narrative, what would be the message you’re trying to convey to passersby?
Notice what’s around you. Look in the corners, at the door that’s covered in graffiti, at the small bits and pieces that exist around you (that) better tie you into where you are. Each of our images are different in their message and [in] their aim. Many are personal but still speak to broad themes like love, greed, fear, sexuality, etc. In the end, I think we’re trying to help create meaning in our urban environment through our lens of experience and share it.
What’s life like for FAILE today? Is it safe to assume you’re not roaming the streets at night and scaling buildings to paste?
The only time we’re out (roaming the streets and scaling buildings to paste artwork) is when we travel. It’s more rare that we roam NYC looking to put up work. We still enjoy getting pieces up and all the things we loved about it back in the day. Yet, with young families and more responsibility, the idea of getting arrested on a random Tuesday night just doesn’t seem as useful as trying to create a large experience or new body of work that can hopefully move people, even if it happens indoors or outdoors with permission. If we choose to use the tool of the street for that delivery of artwork, we will; otherwise, we will try to take all we learned in the last 17 years and channel that into creating images and artworks that resonate with meaning no matter the stage.
California brand, Mollusk Surf Shop, invokes a sense of slow living with the most natural of Pacific Coast comforts in their Spring 2016 lookbook.
Miami-born, LA-based contemporary artist Jen Stark burst into popularity through her recent collaboration with Miley Cyrus and Wayne Coyne on the music video “Lighter.”
Spotlighting the alluring ‘off-the-beaten-path’ nature of Nicaragua, Electrify Mag chose Cerro Negro volcano at a 2,388 foot elevation and the sustainable luxe Jicaro Ecolodge located at Lake Nicaragua as a backdrop for the “Global Generation” cover story featuring Ashley Smith photographed by Electrify Mag’s Creative Director, Christopher DeMairo. Read on for the full story as we go behind the scenes to get an inside look at the cover shoot and short film shot by Director, Shawn Corrigan.
“When I was little, I didn’t exactly know what I wanted to do when I grew up. Although, I did know I wanted to travel the world and meet all the different kinds of people. For me, being apart of the “global generation” means having a greater acceptance of diversity and curiosity for the world we live in today.