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some good chinese architecture practices朱锫建筑事务所: www.studiopeizhu.com/ (Blur Hotel, Beijing)
童明:TM Studio (Suquan Yuan, Suzhou)
 : www.aiweiwei.com/ (Three Shadows Photography Art Centre, Beijing)WSP architects: www.wsp.com.cn/ (Longshan Chapel, Beijing)
Deshaus,www.deshaus.com/ (Shanghai Sculpture Space, Xiayu Kindergarten, Qingpu, Shanghai)
标准营造,www.standardarchitecture.cn/ (Qingcheng Mountain Stone Courtyard, Chengdu, Wuhan CRland French Chinese Art Center)
都市实践, www.urbanus.com.cn/ (Dafen Art Museum,shenzhen, Public Art Plaza, shenzhen)
韩涛, (new studio of chinese academy of oil painting, Beijing)
liu家琨, www.jiakun.com/, (The Art and Design Building, Sichuan Academy of Fine Arts, Chongqing)
Zhouwei,Zhangbin, (Sino-french Centre, Tongji University, Shanghai)
Bu Bing, (Ningbo Wulongtan Resort)
Ma yansong, (hongluo lake club, beijing)
Xu tiantian, (Songzhuang Art Center, Beijing)
Wang shu, (Ningbo Museum of Art, Xiangshan Campus, Chinese academy of art, hangzhou)
Ma Qingyun, www.madaspam.com, (Well Hall, Lantian, Shanxi)
Zhang Yungho (Dalinor National Natural Reserve Tourist Orientation Center, Inner Mongolia)
Miao Pu, (new jiangwan ecological exhibition center, shanghai)
Liu Kecheng, (the main museum and the french museum at Fuping Pottery Art Village, Xian)
Rocco Yim, (mandarin Palace,Jiujian tang Shanghai)
Interview with Leonard CohenInterview with Leonard Cohen
"I don't think of myself as a singer, writer, or any other thing, the job of being a man is much more than any of that." ----- Leonard Cohen Leonard Cohen performed in the Palau de la Mu'sica Catalana, in Barcelona, Spain, on Saturday, October 12, 1974. With the success of the first concert, a second concert was hurriedly scheduled as a matinee on Sunday, October 13. A man sparing with words, but exceedingly expressive with those he says, always and whenever he finds interesting conversation, the night of the first concert he agreed to meet with only three journalists, and each of these separately, in his dressing room at the Palalu de la Mu'sica. The following morning, in brief moments at his hotel, he spoke freely with anyone who approached him or asked him a question. The following is the result of a brief interview on October 12 and two other conversations with him during those days in which, for the first time, Leonard stood on Spanish soil. Jordi Sierra I Fabra - After the announcement of your retirement from the world of music, why this tour and the appearance of a new album? Leonard Cohen - I really never left. The announcement of my retirement was the result of a bit of sensationalism by a journalist who either took very lightly, or freely interpreted, something I said. There are times when one is facing a crisis, and the tone of what is said can be freely interpreted by anyone with a little imagination. In one of those good or bad moments of sincerity, when words come from the heart more than from the brain, that announcement was generated. J.S. - Do you have many times of real depression? L.C. - I wouldn't call it depression, rather a matter of conscience. One has to notice that we are immersed in a terrible and catastrophic age that is affecting many people. Each day hundreds of nameless people die, while I am singing and you are listening to music. It's a constant apocalypse, and in some people, that leaves its mark. J.S. - Is it hard for you to leave your solitude to record an album or to go into the public light? L.C. - It's hard from the very first, when I first start thinking of immersing myself again into the hecticness of constant travel, interviews, concerts. Today I sing here and tomorrow there, which means I never get to know people, the cities they live in, their problems, their circumstances. That makes me feel strange, as if I were not really me, only a person who is passing through, at whom people look, whom they hear, and nothing more. But I also do this in order to give myself some concrete answers at specific times in my life. I decided to make this tour, for example, as a way of reviewing my own capabilities, as a profound analysis. J.S. - What have you found out so far through this analysis? L.C. - For the moment, that I want to present good music, out of respect for the people who are buying their tickets, and out of respect for myself. The rest I won't know until the tour is over and I have returned to my privacy. J.S. - Are you really as sad as your songs? As pessimistic, and, at times, as bitter? L.C. - My work is always autobiographical, and, I hope, objective. Of course, I am like my songs; but I don't consider myself sad, so I don't think my songs are sad. J.S. - In any case, could one speak of a melancholy born of the heartbeat of that catastrophic world you spoke of before? L.C. - It's possible that sincerity might be confused with many things, especially in the world of music, where so many commercial currents run. In any case, it's only a question of coloring. My music is a reflection of my personality, and my personality is a reflection of all that surrounds me. For me, seeing all of this as my work, the most important thing is to be worthy. So, I treat this world that surrounds me with the integrity and dignity necessary to bring it, through me, to everyone else. After that, it is the spiritual state of each person that determines how it will affect her or him. A person could think that I or my songs are sad because of that person's own spiritual state, because they are not affected by the chaotic emotions that surround us, because they are living in another state, and I don't mean to say that that state is more superficial or ordinary, on the contrary, it is the way of being forged by each individual, in which they live. But their power to understand will be affected by what they feel, and by the meaning they give to things. My songs are life and the facts of each day, and I am my songs. J.S. - But it's obvious that, like you, many people think about and feel these things, because otherwise you never would have reached this great communion of ideas, or we could say, this link, between people and your expression as poet and singer. Do you think this is something good, a virtue, that you have to offer? L.C. - My songs have to be lived from the inside. No one will be able to see anything in them, if they are on the outside. The fact that people buy my albums or that people are interested in me means that there are many people inside these songs. We can't talk about virtues, only about creating some relationships which people can then identify with. J.S. - When you talk about people, do you see individual faces, or is it a concept of the masses? L.C. - People are a complex of everyday heroes, at least that's what I feel. There are millions of faces and personalities, but all together they form a people. Then, within each group, there emerges a value system that makes some into leaders and others into followers, that makes some into celebrities, and others into unknown people. All of them are heroes, but each with a different destiny. J.S. - In spite of being Canadian, you have made the Mediterranean into something of a home. What do countries such as Greece and Spain mean to you? L.C. - That they are two very pure vestiges in a technologized world. The folklore of both countries is something that is not found in many places, although it seems, from what I have seen since my arrival in Barcelona, that it is losing out in favor of Americanization. A country that has something such as flamenco, that has in its tradition poets like Lorca, shouldn't let itself be influenced, and certainly not governed, by a music made up by another mentality and put on it by strictly commercial interests. J.S. - Is it true that you have a daughter named Lorca? L.C. - Yes. J.S. - Has coming to Spain, or the people here, made an impact on you? L.C. - It isn't that I've found everything I had imagined, or that I've felt any special images or presences, if that is what you mean. But when the people have connected to my songs, and I have seen them happy, I have felt very connected to them, integrated with them, and that's why I very happily saluted Lorca, dedicating the success of the concert to his memory. J.S. - What has Garcia Lorca meant in your life? L.C. - I've already talked about that from the stage. He has been a man of extraordinary influence on both my political and personal work. I admire him. At fourteen years of age, I realized that in order to define the words "purity" and "poetry," I could go to Lorca. J.S. - Returning to the subject of Mediterranean influence that we talked about before, do you think of these concerts in Spain as having far-reaching effects on you? L.C. - Yes, that above all, because I have been very influenced by the Mediterranean culture, since I live in the Mediterranean, and because Spain is a profoundly Mediterranean country. I have had a very well-known desire to come here, because of feelings I had, because of Lorca, and get to know the people... J.S. - With this tour, and with the bad treatment you have received from the English and American critics, how are you feeling about this international exposure? L.C. - I don't consider myself a great singer. I just play the guitar and interpret my lyrics. I do what I do because I have a need to do it, to express what I know, and to show people what I do. It's true that this tour has had some rough moments, especially in the U.S. and England, but the unpleasant times have not come from the public, just from the critics, and I really don't pay attention to critics. Critics view things with a certain coldness, they focus on the sound, whether it's good or bad, whether one plays the guitar well, on whether there is a large audience, and sometimes they can't see real success, because they don't look into the soul of the audience nor into the soul of the singer. I've seen the people applauding from their hearts, and that is what is truly important for me. And that's the way it was today, here in Barcelona, so this tour, in my opinion, has gone well indeed. I am content, happy. J.S. - Today you played with a complete band, a keyboardist, saxophone, a bass viola, a cello, a guitar and trumpet, and two girls playing the guitar and singing backup. Why don't you perform solo with just your guitar anymore? L.C. - Because I realize that I could become tired, or perhaps I couldn't hold the attention of the audience if I were alone on the stage. So, I surround myself with good musicians and sing with them. One has to evolve, but without losing one's identity, of course, and I can't do today what I did eight years ago. J.S. - Why this severe attitude onstage, without ever moving around, without ever smiling, almost like you aren't really in the moment? L.C. - There are those who sing commercially who sing laughing, who prance around and make a show, because this is their job. I sing serious songs, and I'm serious onstage because I couldn't do it any other way. I think that a bullfighter doesn't enter the ring laughing, rather, he enters thinking that he is betting his life against the bull. J.S. - Why did you end the concert with a military salute, why do you do this after each concert you give? L.C. - Because I don't consider myself a civilian. I consider myself a soldier, and that's the way soldiers salute. J.S. - But...a soldier? On which side? In what sense? L.C. - I will leave that to your imaginacion. I am a soldier. That's all. I don't want to speak of wars or sides. J.S. - Nonetheless, "Lover, Lover, Lover" is dedicated to your "brothers" in the Arab-Israeli war, and besides, you were there, singing for them. This indicates you're taking a side, and in a way, fighting for it. L.C. - Personal process is one thing, it's blood, it's the identification one feels with their roots and their origins. The militarism I practice as a person and a writer is another thing. J.S. - But you worry about war, and for that reason it would be logical that you would be concerned about both sides. L.C. - I don't want to talk about war. J.S. - Do you feel commercialized when a million copies of your albums are sold? L.C. - That isn't the problem, that feeling doesn't happen at the time a million albums are sold, it happens afterwards, when I accept the fact that my songs are being recorded and entered into the commercial games. I feel neither guilty nor happy, but I could add that the system uses me as much as I use it, so we would have to speak in terms of collaboration. What concerns me is reaching the people, so I have to submit to the rules of the game, because this system is the only means I have, to do what I have to do. 無題最初考虑的通常不是形式，最终考虑的永远都是细节。 這是今天突然想到總結的關于建筑的思考過程，其實發現適用于生活的很多方面。 看了2001,Space Odyssey，牛逼。 看了些Big Bang Theory，推薦。 MAP architectsOccasional City - Videos from Josep Lluis Mateo on Vimeo. This is the project that I was working on while I was in Spain.我做了整個背景的地圖，是由十來張地圖拼起來的。展出的時候用作一整個地面，可惜我沒有能去最后的展覽。
无题为了找一些以前作品的照片，很久没来得这里，顺便看看以前的生活。现在看当时写的东西是一种奇妙个感受，过去的生活的又这样突然冒出来了，以前的日子，朋友的留言，现在过去了，但点点滴滴，都存在心里。
下个星期recess week，非常多的事情要做。这个学期太忙了，我住在raffles但是每天基本上只有睡觉的时候才在hall里，别的时间一律在studio忙活。想想上个学期的recess week我还去越南呢。
六门课有四五篇essay要交，考试要复习，设计要做，还有研究生申请的事情，portfolio...
只有集中精神了一样样做了。希望十一月前能够忙完一切，好好放个假，最好能去旅行。
听到陈升的歌词：nothing good, nothing bad, Everybody wants to escape from their own body. 对于现在很贴切。
something about architecturearchitecture is a fuzzy amalgamation of ancient knowledge and contemporary practice, an awkward way to look at the world and an inadequate medium to operate on it.
any architectural project takes five years, no single enterprise-ambition,intention,need-remains unchanged in the contemporary maelstrom. Architecure is too slow. yet, the word "architecture" is still pronounced with certain reverence outside the profession. it embodies the lingering hope- or the vague memory of hope- that shape, form, coherence could be imposed on the violent surf of information that washes over us daily. maybe, architecture doesn´t have to be stupid after all. liberated from the obligation to construct,it can become a way of thinking about anything- a discipline that represents relationships, proportions, connections, effects, the diagram of everything. rem koolhaas
book<CONTENT>by OMAMO, is an attempt to illustrate the architect's ambiguous relations with the forces of globalization, an account of seven years spent scouring the earth-not as business traveler or backpacker, but as a vagabond-roving, searching for an opportunity to realize the visions that make remaining at home torturous. 最近看的電影"Travellers and Magicians"一部讓我回想起川西的電影。 “你要去哪里？” “去我一直梦想的地方。” “去梦境啊。那你要小心点，梦境不会是你期望的一样，醒来就不那么美妙了。” “等待会让人变得焦躁，有求皆苦’”。 另外，導演 宗萨蒋扬钦哲仁波切(Dzongsar Jamyang Khyentse Rinpoche)還是第一位活佛導演，是宗教導師，他曾說，電影可以視為現代唐卡。 對此我深感同意，人既然生活在現代，就應該利用現代科技，當成是一種幸福，而不是故意去排斥。 如此的人來拍電影，難怪氣質不俗。 "Yes man" 發人深省的戲劇 The world is a playground. You know that when you’re a kid……but somewhere along the way everyone forgets it. Wake up you , you are missing out a little thing called life！ 總是拒絕，生活只會保持原樣，如果去主動接受，至少有百分之五十的機會會有好事出現。 所以，不要拒絕讓你體驗生活的機會機會，特別是當你已經知道了拒絕的結果試試待在家里上網或者無所事事。 另外，電影里充滿的eels的音樂美好極了。 ”He's just not that into you“ 赤裸裸地把各種各樣的處在感情中的人的身心狀態解剖了一遍，拿出來整理好告訴你哪些有解哪些無解，有解的改怎么做，無解的改怎么做。 還有什么可說的，看了之后自己對號入座，完了。 ”children of men“ 真正牛逼的電影，我看第二遍了。 整個電影制造的氣氛，長鏡頭的運用，點點滴滴的小細節，無不讓人佩服。 當然故事的寓意更是宗教加史詩，并且反諷了現在發生在身邊的一些事情，如伊拉克戰爭，虐待囚犯，自殺爆炸，恐怖主義，少數民族問題，移民問題，環境問題，人口老齡化，安樂死，甚至讓人聯想到道家的隱居，人與自然的關系，人性本善還是本惡，諾亞方舟，救世主等等等等。 另外讀到一篇評論上說導演也是帶有少數白人拯救世界的精英主義思想來看待的，回想起來也很有道理。其中對中國人的形象也有偏見。 電影中出現了倫敦一些我去過的地方(如shauffage square一帶），但卻是在未來的這樣一個時空之中出現，非常奇妙的感覺。 swing vote All the world's great civilizations have followed the same path:from bondage to liberty,from liberty to abundance, from abundance to complacency ，from complacency to apathy,from apathy back to bondage. if we're to be the exception to history, then we must break the cycle，for those who do not remember the past are condemned to repeat it。 之前寫過了一些，這里補充里面的一段比較有意思的話。 the 6th day 很老的電影了，那個時候還沒有當州長呢。我覺得在世界的某個地方肯定有人在研究者克隆人。而且在我活著的時候就會出現。 shooter 情節一般吧。 不過比較迷阻擊手和關于阻擊手的片子，就像我打diablo喜歡用amazon,打籃球喜歡投籃可能都有一定關系。。。扯遠了。 個人覺得還是enemy at the gates好看，更加純粹。 記enric miralles的igualada cemetary 從巴塞羅那要坐一個半小時的火車，再走三十分鐘的路才能到，烈日炎炎，走在路上頗有一種朝圣的感覺。我昨晚在google map上匆匆看了一些地形，大概記了個方向，今天出來還用相機拍下了巴士站的地圖作為參考才走過去的。墓地坐落在一片工廠區的盡頭，很不起眼的入口。里面真太美了，難以語言形容，很感性的空間，流線，光線，未經裝飾的混凝土墻面顯得很粗糙，但是到處感到的靈動，是力量，細節上更是一絲不茍，地面用火車枕木，象征把人帶向另一個世界，入口的十字架般的雕塑，等等，真的之后親身體驗之后才會感到這才是大師，才是境界。我在里面轉了兩圈，才來了一兩個掃墓的人，把親人的墓碑仔細擦干凈。我也去掃了英年早逝的建筑師本人的墓。和自己的創作在永遠在一起，也許是最好的結果吧。人們在他的墓上寫滿了感謝他的話，感謝他為后人留下了這一切。Muchas gracias Miralles!     flickr上別人的照片，還沒有放自己的上去。下次補上吧。 別太叫汁兒這兩天多虧大家出主意。 首先，我開始每天教更少的東西，布置更少作業，確保他能完成，這樣他高興，我也高興，大家很和諧。另外我想找點兒英文歌和英文游戲，寓教于樂，我也娛樂。不過該玩什么還真不知道，太久沒動游戲了。 其實最重要的還是要改變自己的心態，人生煩事兒太多了，你老和別人叫汁兒，人還不買你賬，說到底還不都是你在和自己叫汁兒，很多事隨意一點兒也就過去了，何況結果通常也不會太糟。 另外，昨天踢球巨爽，大約四五年沒踢了，昨天在這么好的場地上跑得很爽，雖然沒有破門啥的，但射門還是有那么兩回。。。結果今天腿酸得不行了。 剛剛晚上看了兩部電影，覺得都還不錯，第一個旅行者與魔術師，不丹的電影，第一次看那里的電影，看到里面的房子多像我以前去的川西，丹巴，道孚一帶，無比懷念。說真的，去了那么多地方，最懷念的還是那里了。另外一部swing vote講美國大選的，從一個挺不一樣的角度來反映美國的自由平等精神，也是對自己國家制度的一種調侃。雖然不切實際，但調侃調侃有時也是有意義的。
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