Did you know that women are the reason we have those iconic, brilliantly coloured bathing boxes on the beaches of the Mornington Peninsula in Victoria?

At the end of the 19th Century and through the early 20th, the city fathers tried desperately to stave off the shocking prospect of uncovered female flesh. They feared that if women were allowed to undress and change into their neck-to-knee bathing suits on the beaches, public immorality would inevitably follow.

The city fathers had already tried to divide some beaches into separate bathing areas for men and women following “indecent bathing during a heat wave”.

Their battle for respectability and decorum succeeded to the extent that many boxes were in fact built.  Now only 1300 survive and no new boxes or boatsheds are allowed, with the exception of places such as Brighton Beach. For that reason their value has skyrocketed, in some instances fetching more than A$350,000. Tightly held, the families that own them often pass them down through the generations.

Public morality no longer being of concern, they are now mostly used to have a good time at the beach. In summer, you will see owners sitting in the shade of the open box, deckchairs and tables arranged comfortably with food and cold drinks at hand, contemplating the sea only metres from their door. Or you will see them dragging their kayaks from the boxes, a few steps across the sand, and into the sparkling sea for a row along the bay. The owners are spared having to pack their equipment on cars and trailers to return home at the end of the day. But they do have to maintain the boxes in good order and pay fees for the privilege of owning a beach box.

We can enjoy them too. They add a riot of colour and cheerfulness to the beach in any season. So take a stroll along any one of the 26 beautiful beaches of the Mornington Peninsula, from Mount Eliza to Portsea, where you can feast your eyes on these iconic structures.

The guide below shows the places you can find these beach boxes and the number at each location.

Take a look at the slideshow to see some of these beach boxes.

Photographs and editing by Augustine Zycher


The Mornington Peninsula is approximately an hour from Melbourne’s CBD and is easily accessible via the Peninsula Link freeway.



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乌鲁鲁(艾尔斯岩石)— 澳大利亚的红色中部


At the end of May 2017, Uluru stood as a silent sentinel over an historic summit of the First Nations of Australia. They had come from across the continent and the Torres Strait Islands, 250 community leaders. At the end of 3 days of deliberation, they issued a powerful and beautifully crafted document, entitled Statement From The Heart. It rejected symbolic recognition. Speaking from the “ torment of powerlessness” it demanded a constitutionally enshrined Indigenous voice in government decision-making. It also called for a Makarrata Commission to supervise agreements with government and lead the way to a treaty.

And so another dimension was added to the political, cultural and spiritual significance of Uluru.

Uluru is one of the few places in the world to have been awarded dual World Heritage recognition  – for both its outstanding natural values and outstanding cultural values.

On our trip to the Red Centre of Australia, we found extraordinary beauty, cultural richness, and new perspectives on this iconic Australian landmark.

We began with the perspective on Uluru from the distance,  at both sunrise and sunset. In the darkness of early morning, we watched as a dark shape outlined by the first rays of the sun began to loom over the flat plain. By day, we saw a monolith, 9.4k in circumference, rising up 348 metres from the semi-arid desert that surrounds it. Both the rock and the sand are stained a deep red by the iron oxide in the earth. Late afternoon, we watched from afar as the sunset coated Uluru pink, then rich purple colours.

But nothing really prepared us for the shock of seeing Uluru up close.

It is not a uniform lump of rock. As you walk into it, you discover oases with vegetation, waterholes, waterfalls, caves with rock art, gullies and rocks sculptured into remarkable shapes. Changes of light, shadow and perspective bring with them continuous shifts in appearance, an impression of movement at odds with the idea of a stolid monolith.

In the tranquility of the Kantju Gorge, we were enclosed by towering rocks that spectacularly changed from yellow to gold, orange to ochre, pink to purple, and brown to grey.

This breathtaking physical perspective is only a part of Uluru. We began to see that there is another more compelling perspective. We began to learn about the Anangu, the Aboriginal people who are the traditional custodians of Uluru and the country around it, and we pay our respects to them.  Their traditional languages are Pitjantjatjara and Yankunitjatjara. Carbon dating on caves, shows that indigenous people have lived in this area for at least 22,000 years, and possibly 30,000. Elsewhere in Australia, there is evidence of Aboriginal habitation dating back to around 60,000 years, making them one of the oldest human societies on earth.

Traditional custodianship is quite different from our concept of land ownership. It is not personal possession, but public, common responsibility to care for the land, its flora and fauna, and to carry on that care from generation to generation.

For thousands of years, the indigenous people have passed down the knowledge of how to survive on the land and how to survive as a community. But they have not written it down. There are no written texts. There is no sacred literature. They have no Bible, Koran, Sutras, Vedas or Chinese Classics that have guided the survival of other peoples.

It is an oral tradition that has sustained the Aboriginal people with a strong culture in Australia for 60,000 years, in some of the harshest terrain on earth.

The landscape is their sacred text.  The land is endowed with sanctity. Aboriginal spiritual heritage, history, laws, culture, knowledge, geography are all embodied in the land.  They read their land – its shape, its contours, its plants, animals and birds. And they express this connection to the land through songs, stories, ceremonies and art.

The foundation of the culture is called Tjukurpa – Creation – when the ancestors, changing shapes between humans, animals, birds and spirits, roamed the formless land. Their travels, battles and experiences gave shape to the land and created its distinctive topography and all life. As well as  creation stories, Tjukurpa is a body of knowledge governing human behaviour and care of country.

According to Tjukurpa, Uluru was formed by Two Boys. They were playing at the Kantju waterhole, piling up mud until it was the size of Uluru. The long channels and gullies on the southern side of Uluru were formed when the Two Boys slid down from the top on their bellies, dragging their fingers through the mud.

The python woman, Kuniya and the poisonous snake man, Liru, are other ancestors who shaped Uluru and left visible marks. Signs in the rock chronicle their struggle and the places where the grieving Kuniya struck Liru dead in vengeance for spearing her nephew.

When visiting Uluru, you are not just walking amongst boulders and rocks. You are following the path of the creation stories that the Anangu continue to celebrate. The spirits of the ancestors are believed to still dwell here so it is considered sacred, and parts of Uluru are closed to the public.

The initiation of the young into the complexities of Tjukurpa continues. And in caves in Uluru, grandfathers pass down knowledge to young boys, drawing on the cave walls as a teacher in any other classroom would illustrate on a blackboard. In separate caves, women elders pass on women’s business to young girls.

It is an ancient culture that is still alive and still defines the indigenous people.

Another new perspective we had on Uluru was looking up to the desert sky – the stark blue of the sky by day and the sheer brilliance of the night sky. Since tourist and local accommodation is concentrated in a particular area, the township of Yulara, electric lighting does not blot out the stars as it does in cities.  You can look up and clearly see endless swathes of stars shining directly above you.

Uluru is within the Uluru – Kata Tjuta National Park which covers 327,414 acres of Australia’s desert outback. In 1985 title deeds to the land were handed back to the Anangu, and it is managed jointly by the traditional owners and Parks Australia.

The Cultural Centre in the National Park is very beautiful. Built from mud bricks, it represents the two ancestral snakes, Kuniya and Liru. Inside, there are outstanding exhibits about Anangu culture, and you can purchase original indigenous artworks. The bookshop also provides information on a variety of walks around Uluru. Different tour companies also offer tours.

Since Uluru is a sacred site, climbing the rock is disrespectful. It is also dangerous, so visitors are requested not to do so.

The best times to go are during the Australian winter and spring, when the nights may be freezing, but the days are mild. In summer, temperatures can be extremely hot with outdoor activity limited to the morning hours.

The hotels all belong to one group so there is not much competition, but there is a range of accommodation from camping to 5-star tents and hotels.

Our photos were taken only where permissible. To see each photo separately go to our Gallery page.

Photography – Rosalie Zycher & Augustine Zycher

Video editor – Augustine Zycher

Music – Albare  CD  ‘The Road Ahead’  title track www.albare.info





Ningaloo Reef







我在尼加卢航海(Sail Ningaloo)处为自己订了一个为期5天的52英尺双体船航行。这次旅行我偶遇了一位来自英国的独立航海探险者—凯特。她是唯一的一位同行者,也是一名女性,她航行经历广泛,足迹遍及北极、南极以及加拉巴戈斯群岛。她此行的目的就是在珊瑚礁中潜水。


nigaloo reef sailing










尼加卢航海(Sail Ningaloo)最近刚获得了由西澳旅游局颁发的生态旅游银奖和探险旅游铜奖。



感谢尼加卢航海(Sail Ningaloo)和Prue Johnson的海底照相及摄影。Augustine Zycher编辑


亚瑟港, 塔斯马尼亚 – Port Arthur, Tasmania




当你第一眼看见它时,它给你的印象也许是那些伫立在起伏山峦上的英式豪宅和在错落在田园诗画般海港边郁郁葱葱的花园。但事实上,亚瑟港是英格兰最可怕的罪犯流放地之一。这里被它的建造者副总督乔治•亚瑟(George Arthur)刻意营造成为一个恐怖的地方。这里是一个对反动者进行强迫劳役和严厉惩罚的地方,那些违反规定的人在这里要受到不间断的监视。罪犯们奴隶般的劳动不仅仅是要建造亚瑟港的公共设施,更是为这个新殖民地建造一个制造大楼。

同时,亚瑟港也是基于闻名遐迩的监狱改造家杰里米•本瑟姆(Jeremy Bentham)的理念而实施创新型刑罚试验的先驱地。这包括通过教导罪犯贸易或者耕种来努力改造他们。


亚瑟港本来是用来对付那些最不容易屈服的累犯,那些别的监狱无法制服的犯人。但是只有9岁的小男孩们却也被送来了这里。你也可以参观普尔角(Point Puer),这里是大英帝国建立的第一座青少年监狱。在这座半岛上,年纪小的男孩和成年男性是分开关押的。这些男孩会接受一些教育,学习贸易,但也还是要做体力劳动。













A convict ploughing team breaking up new ground at a farm in Port Arthur. Created circa 1838 by an unknown artist. Reprinted as a postcard circa 1926. State Library of Victoria

A convict ploughing team breaking up new ground at a farm in Port Arthur.
Created circa 1838 by an unknown artist. Reprinted as a postcard circa 1926.
State Library of Victoria











亚瑟港变成了一场大屠杀的发生地。包括游客和员工在内的35人被杀,23人受伤。塔斯马尼亚人马丁•布莱恩特(Martin Bryant)被判有罪并被判处35次终生监禁,不得假释。这场屠杀促使澳大利亚政府随后即颁布了更加严格的枪支管理法令。



塔斯马尼亚塔斯曼岛游船 – Tasman Island Cruise, Tasmania





媛梦之旅就搭乘了由Pennicott Wilderness Journeys公司承办的塔斯曼岛游船。





当他们的船驶出迷雾时,映入眼帘的便是高达300米的巨大高墙,这些高墙是南半球最高的。灰色、荒芜,辉绿的岩石历经超过2.9亿年的时间,已经演变成为狭窄的垂直褶 。这些景象对于我们的视觉来说是令人害怕的,但这些景象对于我们来说也是地质奇观。





我们是从霍巴特乘坐公交开始我们的旅程的。当我们穿过鹰颈峡(Eaglehawk Neck)到达亚瑟港(Port Arthur),司机给我们介绍了臭名昭著的景点“恶狗之路”(Dog-line)。在19世纪,从亚瑟港到塔斯马尼亚大陆这一片狭长的土地上,饥饿的恶狗等在路边袭击附近流放地试图逃走的囚犯。




当我们出海的时候,信天翁在我们的头顶盘旋。塘鹅,海鸥,燕鸥和仙锯鹱扫过浪花。海鹰和鹰隼守望在悬崖的上方。海豚陪伴船只左右,但现在不是观看鲸鱼迁徙的季节。这里的海岸线、多种多样的海洋生物以及海鸟都是塔斯曼国家公园(Tasman National Park)的一部分。



这条线路,以及Pennicott Wilderness Jouneys公司运营的到布鲁尼岛(Bruny Island),已经多次赢得了旅游业的奖项。


照片: Rosalie Zycher 和 Augustine Zycher

视频编辑:Augustine Zycher

音乐:Albare演唱《No Love Lost 》选自专辑《The Road Ahead》


澳大利亚的内陆地区:昆士兰卡穆威尔 派特•麦克弗森







       我的朋友,现年82岁的卢克•麦考尔(Luke McCall)就是那些为数不多的传奇的牧牛人之一。在半个多世纪里,他和成千上万头牛马一齐穿越澳大利亚广袤的大地。他热爱这样的生活,也深爱着他的这些伙伴们。他从未把这样的生活视为流离失所、危险重重或者与世隔绝。


       但那些已经是过去的事情了,而现在卢克也是澳大利亚仅剩的不足80位牧牛人之一。每年,这些剩下的牧牛人都会前往昆士兰的卡穆威尔(Camooweal)参加一年一度的“牧牛人扎营节(Drover’s Camp Festival)”。每年八月的第四个星期的周末,他们都会千里迢迢赶来参加这个活动。



       “牧牛人扎营节”纪念的是卡穆威尔作为全世界规模最大的牧牛群中心所流传下来的传统。当时这里的牧牛人会把1000至1500头牛从大型的牛场(驿站)一路驱赶到澳大利亚西北部的金伯利地区、北领地以及昆士兰。 牛群们走过2000公里,穿越最恶劣、最炎热、最干旱但同时也是澳大利亚最美丽的地区,从西澳到昆士兰州及南部地区,最后到达铁路和肥沃的土地。


       这样的牧牛方式持续了一百年。但是在20世纪60年代的时候,这种方式骤然发生了改变。在短短的几年中,牲口的铃铛声就被摩托车的响声所替代了。叫做公路火车的长卡车被引进,从而取代牲口成为拉货进出市场的工具。那些由牧牛人带领牲口驮东西的日子已经变成了历史…… 但是,他们并没有被人们所遗忘。




派特•麦克弗森(Pat McPherson)是维多利亚州一名退休的护士。20世纪60年代,她是西澳金伯利地区Fitzroy 红十字会“澳大利亚内陆任务(Australian Inland Mission)”的一名护士。她定期会前往被她视为“内心故乡”的内陆地区。








一年中的哪个时间去日本旅行最好呢?When Is The Best Time To Visit Japan?







因为能欣赏到樱花的美,所以春天的日本非常受游客欢迎。在春季,无数日本人及游客都会蜂拥至各个公园及花园 ,就是为了欣赏小路两旁的花海,淡粉、玫瑰红、以及白色的花朵交错陈列、美轮美奂。不过,真正的花季却会受天气的影响,所以与预期相比,开花时间可早可晚、很难预测。同时,花期也很短,所以很难说在你的路途中一定能够看到樱花绽放。




日本的各个滑雪圣地纷纷会在冬季出现在人们的视野中。对于那些想要在冬天来日本的人来说,这些地方日益受到他们的青睐。每年二月份在北海道的首府都会举行札幌滑雪节(Sapporo Snow Festival)。有了积雪和冰雕的助阵,这里俨然已经成为吸引游客的又一胜地。





和媛梦之旅一起游览威尼斯大运河 (Grand Canal of Venice)




我们的船沿运河S形曲线朝着军械库(Arsenale)和圣马克盆地(St. Mark’s Basin)方向驶去。



正如大家所看到的,大运河上交通繁忙。客运船、小型船外机、时尚快艇、木质出租车、豪华游轮、驳船,当然了,还有贡多拉 ,这些形状及大小各异的船只以不同的速度朝着不同的方向,鸣着喇叭在水中拍浪前行。这里没有红绿灯,也没有秩序,可能有一些航行规则,但这里却有一个和谐的节奏,仿佛所有的船只都在精心编排着一部气势磅礴的水上芭蕾。










我们经过了横跨大运河的四个著名桥梁中的两座大桥。建造于十六世纪的里亚尔托桥是这些桥梁中最古老的。由瑞士工程师安东尼奥•蓬蒂(Antonio de Ponte)设计的这座拱形石桥可以让较高的船只通过。这就是为什么里亚尔托鱼市场能够在大桥旁蓬勃发展1000年之久的原因。

学院桥是运河进入圣马克盆地前的最后一弯。它毗邻阿卡德米亚美术馆(Gallerie dell’Accademia), 这里拥有着世界上最棒的威尼斯艺术收藏。









视频摄影和编辑– Augustine Zycher




坐在墨尔本郊区的一家咖啡店外,我和两个女性朋友正为即将来临的生日举杯庆祝。此时的天气阳光明媚,雅拉河(Yarra River)的风景美不胜收。树木郁郁葱葱、骑自行车的人精神饱满、河里划船的桨手也充满着活动,周围的一切都很美好。朋友们不经意间说起她们想去巴黎,问我是否愿意一起去。她们的话还没说完就在一旁咯咯地笑了起来,我看得出她们觉得这是个非常好的想法,但实际上却有一点不切实际。








Musée d'Orsay, Paris

Musée d’Orsay, Paris

1. 奥赛博物馆 (第9区)



Sacre-Coeur Basilica, Montmartre, Paris

Sacre-Coeur Basilica, Montmartre, Paris

2. 蒙马特(第18区)




Le Marché aux Puces de Saint-Ouen: Parisian flea and antiques market

Le Marché aux Puces de Saint-Ouen: Parisian flea and antiques market

3. 巴黎圣旺古董市场:巴黎人的跳蚤和古董市场(就在第18区的北边)



Musée Rodin

Musée Rodin

4. 罗丹美术馆(第七区)



Marais District, Paris

Marais District, Paris

5. 玛黑区(第四区)

通常被称为“老巴黎”的玛黑区位于塞纳河右岸。来到这里就必须在那些由鹅卵石铺成的街道上走走。这里的氛围和巴黎市中心那种保守的氛围相比显得更活泼俏皮。这里有很多精品店,我的信用卡就是在这里遭殃的。还有许多时尚和珠宝店(或许是因为我碰巧把注意力都放在了这些商店上?)我也记得其它许多小型画廊和不显眼的庭院。这里是巴黎著名的犹太区,我们参观了犹太博物馆,还在位于蔷薇街32至34号的 L’As Du Fallafel吃到了最好吃的炸豆泥三明治,填饱了我们的肚子。我们下午三点半才到,这就意味着我们不用在门口排长队了,并能马上入座一家已经挤满当地人和游客的餐厅。


Laduree Patisserie, Champs Elysees, Paris

Laduree Patisserie, Champs Elysees, Paris

6.  6. 拉杜丽(Ladurée)糕点铺和茶室 (巴黎有三家店)



Patisserie in Paris

Patisserie in Paris

7. 橱窗欣赏糕点






La Terrasse, Paris

La Terrasse, Paris

8. 当地酒吧

在巴黎几乎每一个街角都有一个酒吧或者餐馆,而且酒吧里大多都用红色的椅子。我们在这里找到了最爱去的酒吧,在从火车站回公寓的途中我们大多会去坐坐。服务员认出了我们,并把我们安排到常坐的位置,送上我们常点的饮料和小吃。尽管我们总是叫它“红沙发”,这家酒吧实际上叫La Terrasse。这里的服务和氛围都不错,是个放松的好地方,我们一边看着当地人和游客来来往往,一边聊着当天的战利品,十分惬意。


Chateau in Loire

Chateau in Loire

9. 卢瓦尔河地区(虽然不在巴黎但却值得一游)




Jackie Pila at Eiffel Tower

10. 艾菲尔铁塔(第七区)




虽然没有进入我们推荐的10大目的地,但是位于第20区的拉雪兹神父公墓(Père-Lachaise cemetery)值得一提也推荐一去。这里很大,你会发现很多游客在找寻名人的墓碑,包括吉姆·莫里森(Jim Morrison)和丽塔·海华斯(Rita Hayworth)。

我发现还有一个鲜为人知的地方非常有韵味,那就是位于第五区的莎士比亚书店(Shakespeare and Company Bookshop)。如果你正在游览巴黎圣母院,这里绝对是个好地方,因为位于第四区的书店就在西岱岛的东半面,跨过桥就是。书店虽小,但却传承下了最初的传统。这里不仅有二手书也有新书,虽然狭小得快连转身的余地都没有了,但从踏进来的那一步我便觉得自己书香气息十足。注意哦,这里的书大多都非常的重!






*接下来是一个非常重要的贴士,那就是不要在卢浮宫门口排队进去!我们是在附近地下商场的一个出口先把门票买好的。或者你也可以购买巴黎通票(Paris Pass)或博物馆通票(Museum Pass)。在这种非旅游旺季,我们的方法把排队的时间缩短了一个半小时。












*还有几家非常可爱的小铺可以去看看,包括玛黑区的Merci(在Beaumarchais大街111号),这是一家酷酷的生活小铺;还有Monoprix (巴黎有三家),这个店非常好玩,有价格适中的家居用品、食品和时尚单品。

我为下一次旅行写下的一些想法包括:住在玛黑区;在卢瓦尔和波尔多地区多待上些日子(而不是像这次只能一日游);去蓬皮杜艺术中心(Pompidou Centre)(周二不开);游览凡尔赛宫和卢森堡公园(这次没有时间了)。




Jackie Pila是一名墨尔本的社工和艺术治疗师,同时也是一位热衷于旅游的妈妈。业余时间,她喜欢拳击和巴西柔术。此行给她提供了一个逃离日常生活的机会,也给了她一段美妙的法国之旅。

澳大利亚当代艺术中心 – The Australian Centre for Contemporary Art (ACCA

ACCA – the Australian Centre for Contemporary Art –  is Australia’s most significant contemporary art space and plays a pivotal role in developing contemporary art in Australia. It is the only major public gallery in Australia focused on commissioning rather than collecting, and has commissioned an unparalleled number of new works from emerging Australian contemporary artists.


The current NEW15 exhibition is part of the annual NEW series that provides young artists with the opportunity to create large-scale new works. NEW has been so successful that for some artists it has become the launching pad to local and even international recognition. Now in its 15th year, NEW is highly regarded and generates huge excitement in the local art world and annual pilgrimages to ACCA in Melbourne.


Venice Biennale 2015

In addition to NEW, through its exhibitions and commissions, ACCA promotes a range of talented Australian artists. Some of those who exhibited at ACCA have gone on to exhibit at the Venice Biennale, the world’s most prestigious art event. They include Callum Morton, Daniel von Sturmer, Susan Norrie, Patrician Piccinini, Ricky Swallow, Shaun Gladwell, Simryn Gill and now Fiona Hall. (See image slider above)

At Venice Biennale 2015, Fiona Hall’s installation, ‘Wrong Way Time’ will be the inaugural exhibition of the new Australian Pavilion.  Australia is the first nation to be granted permission to create a new building among the Biennale’s heritage-listed buildings. This is remarkably significant for Australian art and architecture as it is the first 21st century pavilion to be built in the historic Giardini.

This new $7.5million pavilion represents another link between ACCA and the Venice Biennale. John Denton, Director of Denton Corker Marshall, the Melbourne based architecture firm that designed the new pavilion, is also Chair of ACCA. The previous Chair of ACCA was Naomi Milgrom AO, businesswoman, philanthropist and distinguished patron of contemporary art and architecture.

The ACCA Building

The ACCA building itself has become a distinctive architectural icon of Melbourne.

It’s rust red steel exterior is reminiscent of the red earth in outback Australia, and like this earth, it too changes colours in response to the sun. Sometimes it is a brooding dark red, at other times a vibrant, rich burnt-orange colour. The building was designed by local architects, Wood Marsh, and completed in 2002. But ACCA’s history as Australia’s only ‘kunsthalle’  showcasing the latest and most significant artwork by living artists from around the world, goes back 30 years.

The ACCA building is located behind the National Gallery of Victoria in the arts precinct of Southbank, and in a sense was regarded as the  “new kid on the block”. The National Gallery had reigned over art in the state of Victoria for 152 years. But increasingly, ACCA became the place to see the newest and most exciting trends in contemporary art. This was in stark contrast to the NGV which largely turned its back on contemporary Australian art.  It was only last year, with the blockbuster exhibition, ‘Melbourne Now’, that the NGV finally flung open its doors to contemporary artists, many of whom had been welcome for some time at ACCA.

ACCA’s renowned Artistic Director and curator Juliana Engberg who has commissioned and overseen more than 120 of ACCA’s Australian and international exhibitions, is now leaving to join the roaming European Capital of Culture series.

ACCA Events

In addition to its exhibitions, ACCA also holds very popular events. There are drawing workshops, educational programs and lectures. Currently, there is a highly acclaimed lecture series called ‘The Grand Tour: Cities Shaped by Art’  that covers London, Venice, Berlin, Beijing and Amsterdam.

The ACCA courtyard is shared with the Malthouse Theatre and is a very attractive place to enjoy a coffee after viewing the exhibitions.