Model.01

寄件者 MArch_Term 01

I'm concerning the complexity of the world in shifting, inspired by the falling leaves, leaves from different trees, falling due to the gravity, flies around by the force of wind, it drops on the surface, the pavement or the on the river that travels to another territory, people walk through and stepping on it that squeeze the volume, a complex motion system exist in the blur between varies events, which project the imprint or trajectory left behind. How do I capture the trajectory in the motion space, what is the object inside this unstatic boundary that can be defined? I'm looking for a tactic to undressing and re-dressing the relationship of the complex system by the falling leaves, the movement, the shadows, the light, and what is underneath the system.

我關心的是一個動態的變位的空間，落葉，因為風、地心引力、氣候等不斷變換的條件，不同的樹飄落的樹葉散落在各處，在車頂上、在人行道上、也可能落在河流隨著波動漂流至它處，我們走過街道踩過樹葉的聲響，下雨讓葉子濕潤而烙印在地板紋路，這些種種多重事件的變化與位移，物件在這模糊的邊界與空間中該如何重新定義，一個在桌上的杯子被你移動之後那個杯子還是杯子嗎?在這不安定的邊界與空間中怎麼去發現這樣的痕跡、軌跡，我試圖透過落葉這樣一個多重事件的系統中尋找"戰術"，一個可以解開這動態空間中的關係，必須讓這模型本身可以呈現多面向的因子進來，不安定事件發生在限定的系統，還有觀察這兩個系統的子系統。

寄件者 MArch_Term 01

Vermeer's Camera

寄件者 Art & Design

Vermeer’s room and furniture

These drawings show plans, side views and bird’s-eye views (axonometrics) of the spaces shown in eleven of Vermeer’s paintings of interiors. Ten of these seem to depict the very same room - although the tile patterns vary. (For the eleventh picture, ‘The Love Letter’, it is impossible to say whether it might be the same room, because there are no architectural features or pieces of furniture shared with other pictures. What is more, the fireplace and doorway are unique to this painting.) Each picture’s viewpoint is labelled V. Only those parts of the tiled floors that are visible in the paintings are shown in the plans. In some instances the positions of objects or parts of objects which are not wholly visible but can be located with confidence, as for example the legs of chairs or the feet of tables, are shown in dotted lines.

寄件者 Art & Design

寄件者 Art & Design

Listening Post

LISTENING POST

Mark Hansen and Ben Rubin

Listening Post is an art installation that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it's own data processing logic. Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.

MArch_Term 01

Start from here: The Falling Leaves

Photographer_Jerry Norman Uelsmann

Jerry Norman Uelsmann was born in Detroit, Michigan, US, on June 11, 1934, the second son of an independent grocer. He attended public schools and was never a particularly diligent student. During his high school years he became interested in photography as a serious vocation. Uelsmann enrolled at the Rochester Institute of Technology in 1953, received his B.F.A. in 1957 and his M.S. and M.F.A. from Indiana University in 1960. He taught at the University of Florida from 1960 until recently, and held the position of Graduate Research Professor at UF since 1974. Uelsmann received a Guggenheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a founding member of the American Society for Photographic Education, a Fellow of the Royal Photographic Society of Great Britain, and has served as a trustee of the Friends of Photography.

Uelsmann's work has been exhibited in more than 100 solo shows in the United States and abroad over the past thirty years. His photographs are in the permanent collections of numerous museums worldwide including the Metropolitan Museum and the Museum of Modern Art in New York, the Chicago Art Institute, The International Museum of Photography at the George Eastman House, the Victoria and Albert Museum in London, the Biblioteque National in Paris, the National Museum of American Art in Washington, the Museum of Fine Arts in Boston, the National Galleries of Scotland, the Center for Creative Photography, Tucson, Arizona, the National Museum of Modern Art in Kyoto, Japan, the Moderna Museet in Stockholm, the National Gallery of Canada, and the National Gallery of Australia.

http://www.uelsmann.net/

語言轉移-語意的失真或誤解

看看這個語言轉移之後的語意形式，從翻譯或者轉述都是語意失真的開始，當然最簡單的閱讀就是一種誤解的開始，所以文字語言可以複製，但語意質感無法再制。如同語言學符號學裡提到的將語言視為符號，分成 Signifier(意符) and Signified(意指)，因此翻譯試圖將意符轉換正確但意指卻可能因為語文架構不同而無法釐清。

視之不見名曰夷，
聽之不聞名曰希，
搏之不得名曰微，
此三者不可致詰，故混而為一。
其上不皦，其下不昧，
繩繩不可名，復歸於無物。
是謂無狀之狀，無物之象，是謂惚恍。
迎之不見其首，隨之不見其後。
執古之道，以御今之有。
能知古始，是謂道紀。

~老子道德經第十四章

Look, it cannot be seen - it is beyond form.

Listen, it cannot be heard - it is beyond sound.

Grasp, it cannot be held - it is intangible.

These three are indefinable, they are one.
From above it is not bright;

From below it is not dark:

Unbroken thread beyond description.

It returns to nothingness.

Form of the formless,Image of the imageless,

It is called indefinable and beyond imagination.
Stand before it - there is no beginning.

Follow it and there is no end.

Stay with the Tao, Move with the present.
Knowing the ancient beginning is the essence of Tao.

~Lao Tzu,Tao Te Ching

The 1st Tutorial

今天是第一次分組上課，在幾次跟老師通信中，發覺我們所要碰觸的範疇越來越深，哲學、數學、文學、心理學、機械...等等，老師所給的references廣泛至任何領域的訊息，他提到paradigm shift(範疇轉移)，同一個物件同一件事物因為時代背景或者文化轉換定義與意義在不斷的改變與轉移，原本的意義被重新定義或者誤用。相對於建築空間定義會是怎樣的轉移，特別是我們身處一個新的時代、在一個許多事件、物件、空間、速度、尺度都在不斷的移動與轉變的空間下，飛機、手機、電腦、等都是造成空間與建築關係改變的因素，但我們怎麼去發現?怎麼去打破?怎麼去探索?怎麼去體驗? 達達主義的貢獻不在對藝術的創造而是在於打破舊例，將藝術打回原點重新發現，所以造就了超現實主義這個具有顛覆單一觀點的時期，也是造就現代藝術的啟蒙。那建築呢? 現代主義、後現代主義、數位主義...what next?
這是它丟給我們的問題，當然很抽象很模糊很籠統，但有一點不變的是，do more, draw more, construct more, 而不把自己鎖在單一想法上非得以一貫之不行，先尋找任何可能，只有在不斷trail and error下才能發現，don't hesitate of making strange idea，the strange the better，呼....

About_Fractal Art

寄件者 Art & Design 寄件者 Art & Design

Fractal art is created by calculating fractal objects and representing the calculation results as still images, animations, music, or other media. Fractal art is usually created indirectly with the assistance of fractal generating software, iterating through three phases: setting parameters of appropriate fractal software, executing the possibly lengthy calculation and evaluating the product.

Joshua Klein-The amazing intelligence of crows

Joshua Klein will hack anything that moves -- his list includes "social systems, computer networks, institutions, consumer hardware and animal behavior." His latest project, though charmingly low-tech, has amazing implications for the human-animal interface.

The goal of this project is to create a device that will autonomously train crows. So far we've trained captive crows to deposit dropped coins they find on the ground in exchange for peanuts. The next step is to see how quickly we can get wild crows to learn the system, and then how quickly they can learn it from each other.
Once we've got system down for teaching coin collection we'll move to seeing how flexibly they can learn *other* tasks, like collecting garbage, sorting through discarded electronics, or maybe even search and rescue. The crows continue to amaze us with their abilities, so who knows?
In the meantime, the idea of mutually beneficial synanthropy is gaining ground. That's the concept that we can have mutually beneficial relationships with animals adapted to human ecologies. We're doing some consulting with companies that have animal-related problems to find animal-related solutions - instead of just bombing, shooting, or poisoning them.

XL vs XS

by Yann Arthus-Bertrand

由法國航空攝影師Yann Arthus-Bertrand 拍攝一系列超大尺度的地景照片，對比上我之前記錄的超小尺度的微觀地景照片，極大與極小有某種程度的類比性與自我相似。

About_Form:uLA

From:uLA [Bryan Cantely + Kevin O'Donnell]

寄件者 Exb_form:uLA

The exploration and definition of architectural design in the digital electronic age.

This is not a project of the current, of the “now”, but rather one that challenges urban and architectural thought of “when ?”
We feel that the future of architecture is
important to consider before we actually get there…

http://web.mac.com/form.u.la/FIEDAD2007/00.html

The Kaleidoscopic Observatory

寄件者 MArch_Situational Drawings

Finally I reconstruct my project into one peice

The kaleidoscopic Observatory

Kaleidoscope is an optic for documenting the information and then reinterpreted into images that varies through time and movement. The plotting machine is situated in the kaleidoscopic space for illustrating the spatial information and the distorted time scale with the imprints of events by drawings, a reinterpreting devices of the observation procedure.

click here for slideshow

MArch_Workshop 02_part II

+Situational Observatory

作業總是在結束的時後才知道整件事情的重點，處境圖面就是一種透過繪圖或表現法本身來重新構思設計，也是一種發現設計機會的方法工具， 我覺得再做設計的過程我們就不斷的再進行Drawings or drawings，譬如說Sketch到正草圖到正圖，當同一張圖被一畫再畫之中我們就不斷的再調整與重新詮釋，過程會出現新的可能與調適，這個作業只是把這過程放大並催化變成一種所謂的處境圖面觀察。如同在一些看似不相關的訊息試圖將其混融成一體，即使是式覺上也好還是觀念上也好這過程就是在整理資訊連結，因為只有在發現無法發現的事情才會是創造，畫出想像中的事情只是複製經驗而不是創造，當然也不全然是這麼單純，很多思索是在直覺觀察與經驗挖掘中交互作用而成的，因此老師也提到，當這過程被不斷的進行再進行，久而久之會變成是自己的"觀察感度"與"直覺經驗"，所以這不是一個可以完結的作業，而時思考不斷的再翻轉與翻轉的不停過程，我們所記錄的紙是瞬間的模式，這模示會繼續運轉下去，這是我對於此工作營的小小理解。

關於我的圖面呢? 嗯，該怎麼說? 其時我在畫的同時我是沒有思考沒有紀律的，但後來想想不可能沒有思考沒有紀律，因為我們腦袋結構本身就有該記律與直覺，只是習以為常的反應被我們忽略成是沒有思索的動作。紙是我真的缺少的是最後最後你想呈現的是什麼? 你發現了什麼? 你想敘事的是什麼? 這仍然是需要被消化與整理的，就像國滄說的有些事情早就那邊了，只是到底看到了沒有? 所以工作營的老師也希望我們，這兩天放下鉛筆，重新看著圖面回想起過程，慢慢的讓思緒清晰，最後寫下序述會是很有趣的事情，因為這會是你在畫圖時可能不會連結的，而是從圖面拼湊出的印象。

下面是幾張過程的圖面

寄件者 +Hybrid Drawing

寄件者 +Context Drawing

Students drawings here

MArch_Workshop 02

Situational Drawings Workshop
From:uLA [Bryan Cantely + Kevin O'Donnell]

這是一個為期三天的工作營，時間非常短，Think Quick/Draw Quick/Done Quick，總共分四個步驟理解關於Situational Drawings (處境、局勢)，簡單來說是一個透過Drawings來思考Drawings的過程，這些建築字彙可以重新詮釋之。

Day 1: 4 Drawings 四張獨立具有下列屬性的圖面

A.Page Structure (圖紙結構)
1.Tape down a large format paper to your desk
先將一張空白的圖紙貼在工作桌面
2.Use adjacent situations to project a "Structure" on the paper
利用鄰近的局勢處境或位置來投影"結構"在這張白紙上，例如:從桌面的延伸線、天花板投影線、等任何可以呈現環境訊息的構成。

B.Object Deconstructing (物件解構)
1.Find and locate a semi-complex component.
找一個次等複雜層級的構件，例如: 門把、窗戶
2.Construct two sections and elevations of the component.
繪製此構件的剖面與立面圖

C.Post Occupancy Graphics (既有之記號符號)
1.Generate a set of graphic information system
建構一個具有圖像式資訊系統組合，例如: 牆上塗鴉、記號、痕跡，等非建築物本身預設的構成圖像，這些記號可能具有描述事件或者敘述的可能。

D.Page Structure (圖紙結構)
1.Locate a page that has "Native print" markings.
定位一張圖紙具有初始的符號記號，例如:報紙的序號、帳本的數字等，非圖紙資訊本身所留下的列印記號
2.Use the original format to establish a geometry of the markings.
利用原本整張圖紙來描繪這些記號的幾何關係或者觀念
3.This will serve as a "Structural idea" for the SURFACE of the page.
這些會當做是圖面表層的結構想法，意思就是這圖不再只是平面本身而具有平面以外的資訊呈現在平面上。

Day 2: 2 Drawings 兩張圖面藉由整合上列四種圖面
1.Context drawings: combine page structure and occupancy graphics and native print into one as a site/context.
涵構圖面:藉由結合環境資訊所構成的圖紙結構與實體符號印記系統和列印記號來融合成所謂的基地函構圖，混合的方式必須開始試圖讓非關聯的資訊變成具連結意義的圖像。
2.Hybrid Drawings : Begin with the object drawing and introduce the information behind or before the section or elevation.
混合圖面:將之前畫物件的立面剖面當作基礎，試圖想像在剖面與立面之前或之後可能的資訊，多視點的透視、多尺度的圖面混合成一張具有連接意義的圖像。(有點像是把所有資訊呈現與交融成一張複雜構成圖面)

Day 3: Observatory of Situational Drawing (處境圖面的觀察台)
Start to explore through the context drawings that you create by cutting section or whatever method, to realize the ability or potential of the structure, and emerged the object into the context as observatory for exploring situational drawings.
開始回頭將創立的涵構圖面試圖理解圖面所傳達的資訊(因為涵透圖此時都非常的複雜)，就是如何重新看待平面資訊成為空間資訊，重新定義與探索其中可能的空間結構可透過剖面來理解(有趣的是如何將平面資訊畫成剖面?當所有東西都是平的)，再將所繪製的混合圖面(物件)放入涵構圖面之中，重新調適與重組成一張可以理解處境圖面的觀察器具。

Day 3.2: Final Tweak and Narratives (最後整理與空間敘事)
最後重新看待圖面與過程，思考如何將這不斷轉換與改變視角與觀點的圖面成為一可具有敘事與可探索的圖面。

Squinting / Blinking / Growing

今天晚上聽了第一場一系列由Peter Cook主辦的演講，這次邀請三組人來進行對話，這三組人各有不同的專長但都是建築背景出身，藉由伸展建築的觸手到其他領域。

第一組Squint / Opera是一個CG動畫設計與創意企劃工作室，作品內容不只是3D動畫還包含一些影像創作，主要業務在於建築設計案的動態企劃製作。

第二組是Baubotanik，位於Sttugart的工作室，他們嘗試利用植物生長的本性來生長建築，簡單來說藉由控制樹木的生長與利用一些農機工程來創造建築結構，時間變化季節變化是這案子很有趣的部分。

第三組是Jason Bruges，利用空間的動態屬性跟變數來創造建築，譬如利用捕捉風的速度造成發光體的亮暗、人行走速度造成顏色的轉變與互動..等等。

最後的討論中有提到一點，他們身為建築師但不盡然做蓋房子的事，而變成一種Hybrid的事務所，各種專長領域的人混雜在一起做各種不同的事情，已經沒辦法定位到底是什麼角色。但他們都在創造"問題"，因此問題變成了他們想法創作的基礎，因此只有在創造問題並在非經驗脈絡下才能夠創造一些新的事情。anyway 分享一下他們的網站。

Squint and Opera -Squinting

http://www.squintopera.com

Baubotanik-Growing

http://www.baubotanik.com/

Jason Bruges-Blinking

http://www.jasonbruges.com/

Architect_Jamie Fobert

An "inside-out" arcitect, which puts particular store in "Framing light and views"
一位"由內而外"看待建築的年輕加拿大籍建築師(事務所在英國)，他認為建築的創新在於從基地條件內而外的reslove空間議題，這不是什麼偉大的觀點或者嶄新的詮釋，到是可以看看他的這個作品，Farmhouse in Ireland，保留原本農舍對於田園的topology，而不把它稱作"住家"，利用既有建築物內部環境捕捉的農田畫面來考量開口，所謂的Internal experience才是他所關心的事情。

http://www.jamiefobertarchitects.com/

Theo Jansen-kinetic sculptor

寄件者 Art & Design

Theo Jansen (born March 17, 1948, in The Hague, Netherlands) is a Dutch artist and kinetic sculptor. He builds large works which resemble skeletons of animals and are able to walk using the wind on the beaches of the Netherlands. His animated works are a fusion of art and engineering; in a car company television commercial Jansen says: "The walls between art and engineering exist only in our minds."

more here

http://www.strandbeest.com/

Pure Creativity Competition

‘Explore new design territories in the context of 3D printing technology’ Philippe Starck.

http://mydeco.com/the-magazine/competition-pure-creativity

1st Presentation

今天是這第一次在巴特雷評圖，也許不算評圖因為沒有評圖老師，只有workshop 的tutor而已，比較像是作品回顧發表，來到西方一切都要自動自發，漸漸的要習慣搶先發表，我聽了蠻多有趣的案子跟想法，多半是歐洲人。也許只是因為他們英文夠流利可以表現作品更完整與跟老師的對談更深入，反觀亞洲人這點的確就輸了一大半。但是歐洲人想得快做的也快，這點在後面幾個亞洲學生後明顯有些落差，似乎跟在台灣的情況一樣。我們好像害怕提出看法、害怕做東西、害怕發表意見，常常圍繞著主題而沒有真的很快的試出東西來，當然也有些歐洲人真的是沒什麼想法也沒什麼做法，或許這跟人文沒有關係跟個人有關係，所以很有趣的是第一次看到這麼多不同國家不同文化的人在表達意見，各種媒介各種方式各種語言同時出現在這評圖室，這樣的多樣性與複雜性的確會刺激彼此間的觀點，讓我好想記錄每個人的作品與表演。

至於我評的如何，我也說不上來。因為這不是個評圖模式、我只能說我盡可能把我想講的都用圖像表達出來，過程中我很少說話，只用很簡短的關鍵字來點綴，我只是不喜歡說很多話的presentaion。原本期待其他學生會提出建議或者疑問，但沒有。我也搞不清楚是很清楚還是很模糊到無法問起，也許有可能是後者，老師其實說的也差不多，就是要如何利用你所觀察的事情來解讀空間或建築(這聽起來不就是畢設在做的事嗎?)。後來老師有提到一點，當你不斷的把觀察的事情拆解、抽象化又抽像化到無法被解讀時要很小心，並不是因為你看到了連你也搞不清楚的東西就很興奮，圖像很棒因為不知道是什麼，但這也相對的削弱了想要談論的主軸，因為這資訊無法共享與被閱讀。

第一次的巴特雷評圖的確讓我對這裡的建築教育有了一點了解，當然我沒有被評論到很直接的問題讓我有點失望，感覺好像沒有結束，anyway即將要進入正題了，要選老師要跟老師面談，真正的MArch才要開始。

Self-Portrait Final

寄件者 MArch_Self Portrait

Final Presentation

Monday 10:30 G04 MArch Studio

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John Cage's quote

1. I have nothing to say, I am saying it, and that is poetry.
2. My choices consist in choosing what questions to ask.
3. It is better to make a piece of music than to perform one, better to perform one than to listen to one, better to listen to one than to misuse it as a means of distraction, entertainment, or acquisition of ''culture.''
4. The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason.
5. There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.

Body Scanner

寄件者 MArch_Self Portrait

之前很快速的用陣列的3M立可貼如同Scanner的感應裝置，感應線性、時間、位移的資訊，原本無法被閱讀得資訊透過利用Scanner圖像所建立的Defrag語言來解讀。重組只是一個試圖探索的過程，碎片仍然是碎片，在重組的同時也碎化了其他資訊，但這是一個重新看待空間與身體關係的語言，將所有資訊以單軸線性、單軸時間、單軸位移來閱讀。

寄件者 MArch_Self Portrait

Notation_2

寄件者 MArch_Self Portrait

寄件者 MArch_Self Portrait

譜記這工作是冗長又繁雜的過程，建立可被閱讀的符號系統要經過不斷的錯誤與調整，今天一整天不斷的放大縮小圍繞在幾張圖上，刪了又改改了又刪。

Notation

Notation 譜記，這件事沒想到大老遠來到英國還是會談到這些，說真的台灣建築教育其實某種程度沒有落後太多，只是稍微缺乏自由度跟多元性，也許是因為給國滄帶到畢設或者王老的方法學才會多少領悟這些事情，但這裡比較讓人尋味的只是多了一點自由度、趣味性、競爭力，因為老師也在競爭，每年都要提出新的題目。

今天Stuart看了一些我嘗試的圖像，我知道我在尋找一些影像的特質與屬性，嘗試了一些可能可以與韻律或者節奏的圖像，他希望我可以開始進行譜記，將這些抽象的圖像轉成可以被閱讀的語言與文法，就像是樂譜一樣可以被演奏與詮釋。這觀念我想大家都知道，畢設時代也談了又談，當然關鍵不是觀念本身而是觀察者本身是否可以創造樂譜，這就是設計問題，當然老師不會給你答案，在這裡更不會給你答案。

但這裡不會檢討你的想法，意思就是你自己檢視你自己的想法、你自己解決自己的設計問題，也不問你為什麼要這麼做。嗯 (越好的學校就是老師越不管你在做甚麼嗎?)，當然老師會給你參考資料、書籍清單，也會直接說出"I like this graphic"很直接的說出哪個好哪個很糟，這點我倒是蠻喜歡的。

Sketching in a scanner

寄件者 MArch_Self Portrait

我在五個手指上貼上會反光的圓型貼紙，試圖記錄手指的位移與速度，原本單純的扭曲圖像如同有了速度與連續的時間感，透過掃描器這媒介可以同時描述物件、時間、位移。

昨天聽了Neil Spiller的第一堂課，提到了七個建築構成(Continuums of Architectural Composition ) Space / Technology /Narrative, Semiotics and Performance/Cyborgian Geography/Scopic Regimes/Sensitivity/Time ，其中最後的所有構成都包含了Time因子。

寄件者 MArch_Self Portrait

寄件者 MArch_Self Portrait

寄件者 MArch_Self Portrait