不能说的秘密: September 2011

Friday, September 30, 2011

yesterday, today, tomorrow

"Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows, also Digg submissions. Select only things to steal from that speak directly to your soul, or that will make Digg front page. If you do this, your work (and theft) will be authentic and earn you many Diggs. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery, because we can track it anyhow—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to."
-Jim Jarmush-

Sunday, September 25, 2011

糟，糟，糟

哇~

还是第一次碰上这麽糟糕的男人，

我还以为天下男人都很慷慨大方，

原来还有这个比女人还要小气的...

大男人！

唉~

就不说他那过分的小气吧，

就连基本对女人的忍让也不懂，

更别说温柔体贴细心。

少爷,

我的辛苦，我的累，

你不体谅，没有给以安慰，

还跟我发什么少爷脾气？！

多次网上聊天时都是三问四不答，

进出面子书聊天室也都不打声招呼，

我留的offline messages也从不回应，

真当我没到，还是当我透明？！

这些我都可以原谅你，

因为我够慈悲，体谅你很忙，日夜在赶工，

所以就让你大完，我理所当然要忍你。

幸好本小姐够大方，不跟男人斗小气，

所以从不跟你追究过问。

啊？！你说你日夜都是在忙着赶工？！

怎麽却天天还有闲情在面子书上游览？

忙得可以无视我的留言，

却有时间在自己的面子书留字，刊照片，上载短片？

更可悲的是，

我说我牙疼，你却只回因了简短的几个字，

而且是过了很久才对上的回应！

之后就没下文了！

就连一个call都没有...

天啊~

我从没无理取闹跟你撒娇，

（我也想啊，都没机会)

或让你忧心，因为你总是很忙，

我不该让你忙上加烦，

我必须放下自己，忍你,

虽然我也忍得很累了...

现在你说我对你冷淡？！

我会不冷吗？再热却的心也都被你泼冷了，

因为感情是由互动培养的，

我也是人，而且是女的一方，

我比你更需要安慰，

更需要关怀，

我的处境你不是不清楚...

少爷，反省反省吧！

难怪当初朋友激烈反对我考虑你！

Friday, September 16, 2011

so wrong

another bad encounter...

as with other members, I thought the linear scheme is the most appropriate, clearest, obvious and correct interpretation of the poem "a walk"...

every tutorial session with our tutor seem did not much help to our scheme. Our effort went in vain. How could a scheme be so "right" and "interesting" to one, yet is criticized as "not accurately reflecting the scenario..." What and where went wrong?

Scheme 1: Rise of Apollo (Linear Interpretation)

I was amazed at how sensitive and empathetic was Dr. Suchi when she heard the poem and clearly related it to our vague scheme:

1. It is not necessary to impost a function to the scheme, let it remains as a hypothetical scheme. (we did so to justify a "linear configuration of a 'one way' traffic, and the sudden stop at both ends, A 'Jetty' serves the purpose literary and functionally)

2. It is much more appropriate if the "ending part" of the scheme portrays a very different atmosphere to the observer. The design at the opposite ends should not be identical. (I thought to do it such way because 'he' is yet to achieve what he is heading for, and he is still far from his goal)

3. The middle part of the scheme should be continued and amplified on its openings as the space progress forward (apparently Dr. Suchi takes "framed voids " within the bigger frames as 'opportunities', instead of the "gradually smaller frames" at the ending part)

4. The ending part of the scheme should provide the greatest positive feel (as it is ended with "...what we feel is the wind in our faces".

5. Or, the scheme should end at the middle part! (because he is yet to achieve what is ahead, the "goal" is stil vague, intangible, not within his reach etc)

Moral of the story:

role of a tutor is really important, if you get the right tutor, you will learn tremendous lesson.

UNLESS you are lucky to have "critical minded group members".

Friday, September 2, 2011

Sound of the Wind

Inspired by "A Walk" by Rainer Maria Rilke

My eyes already touch the sunny hill.

going far ahead of the road I have begun.

So we are grasped by what we cannot grasp;

it has its inner light, even from a distance ~

and changes us, even if we do not reach it,

into something else, which, hardly sensing it,

we already are; a guesture waves us on

answering our own wave...

but what we feel is the wind in our faces.

Translated by Robert Bly

Linear interpretation: an event, to experience a purpose (vision) driven walk~

THE JETTY: RISE OF APOLLO

1. linear movement: in the move, a journey in progress,

2. forward direction: started from a point at the opposite end, towards another direction,

3. space-time progression: emotionally responding towards and interacting with the lateral "vision".

4. continuity, predictability, expectation, onward, positive and assurance.

Spatial characteristic:

Design to capitalised on natural site features with dramatic and powerful scenary.

1. open or semi enclosed, perforated planes

2. subject and object relationship, visually related/connected but physically detached

3. time, and event which has taken action but has not yet arrive at its finale: the end is not in sight.

It is a linear space, a visual driven typology.

Experience is focused on the "vision", which is regarded as something magical and powerful,

that he is overwhelmed. The "vision" is also responding to him and guiding him onward.

the object is the "vision", which is the main stimulation, it is meant to drive away his cares and worries, to take him out of himself.

In pursuant of a "vision", he need more continuity and predictability in his surrounding, but he also need enough "mystery" and "complexity" to keep him interest in looking around them.

On one hand this is exciting because it represents progress and a new phase in life. On the other hand it has constant flux, unpredictability and uncertainty.

Therefore, design emphasized the "main visual" axis, not to be overshadowed by the surrounding.

The sea offers s a stage of everchanging dynamic scene, the sound of waves, sea breeze, smell of sea water, reflective surface in respond to sunlight and sky changes, complementing the "journey"...

or ...

Circular interpretation: an event, to experience a purpose (vision) driven walk~

THE OCULUS

1. circular movement: in the move, a journey in progress,

2. upward direction: started from a point at a lower level, upwards to higher elevation,

3. space-time progression: emotionally responding towards and interacting with the vertical "vision".

4. continuity, predictability, expectation, onward, positive and assurance.

Spatial characteristic:

It is a centric space, a visual driven typology.

Experience is focused on the "vision", which is regarded as something magical and powerful,

that he is overwhelmed. The "vision" is also responding to him and guiding him onward.

the "vision" appears as a "blackhole" in the centre. It is flinged by curving verticle drop of massive waterfal, to a very deep void, too deep towards the center of the earth that it represents a "blackhole".

The "blackhole" is the "void" that is pending. The poet is working towards what he dreams of, however in view that the "vision" remains as something yet to be achieved, which has very strong influence, it is regarded as having strong magnetic field as a "blackhole".

The radial arrangement of the vertical fins supporting the stepping slabs emplified the centric force of the blackhole, besides providing indication of "openess" or opportunities towards the outer spaces. The highest point of the steping slab gives the most dramatic view towards the "blackhole", it provides the highest "enmeshed experience" to viewers.

Waterfal gives sound, water vapor, wetness and cooling effect.

Comment by Dr. Suchi:

the Jetty "Rise of Appolo" (Linear interpretation)

The Poet is "welcomed" and overwhelmed by the "vision" ahead. In order to express that, the tectonic planes should be arranged to show sense of progression such as:

1. increasing level of visual and physical permeability from "much obstructive" arrangement towards "less Obstructive" arrangement, as to showcase "sense of welcoming" from the opposite direction,

2. increasing level of light penetration via the fenestration provided on the tectonic planes, from the beginning towards the opposite end, from less penetration to wider opening,

3. decreasing sizes and measurement of the techtonic plane

there shouldn't be the same "ambiance" at both end, since he was changed by the phenomenon upon approaching the destination.

The experience at the begining shall not be the same when one approches onward, especially at the ending part, for he is changed, overwhelmed and motivated. The "opening" or path should be

getting wider or taller / or from obscure towards brightness, as he is getting closer to what he is looking for...

VISION is sybollically and literary addressed in the design. Other sensory response are supporting features that complement the experience.