The Diary of Tortov Roddle

Aru Tabibito no Nikki
The diary of Tortov Roddle

Accompanied by his estrange long-legged pig, Tortov is on a ongoing journey through a magical surreal picturesque landscapes.

Adventurous fantasy, Tortov meets new friends, "creatures " that can only be imagined as strange forms which only random clouds would form.

An lovely and peaceful animation that warms anyone's heart.

Will Alsop - Related Video Searches

Response - In this video the creator focused on the building materials, sections of building

Gucci Flora

Donna Summer ft. Chris Cunningham



So Magical. constantly repeated during every advert break on every channel. Some how i prefer to watch this advert comparing to all the other rubbish adverts out there.. some how every time i see this advert i see something new?

Four Words

I AM, I Was

The last words of Jude Law's character in 'Artificial Intelligence' (The Film)As he was taken away by the machine patrols.

Absolutely NOTHING!

Congratulations!
you have recieved the gift of nothing. Absolutely nothing.
This is the ultimate in minimalism. Less is more, more is less.

Nothing is precious. Nothing is simple. Nothing is scared.

Open the pack and be enthralled when nothing happends.
Allow nothing to flow through your mind and calm your soul.
Savour the moment. Soon you'll discover that nothing really is so much better than somthing.


An product I found at the gadget section at Selfridges. Having and owning things gives us convienence, possibly happiness, feeling of fullness. Yet too much, can be a burden. At my flat in London i constantly buy to fill the gaps in my room, i ended up with the viscous cycle of finding objects to fill my room then finding resolution to contain these items, but when things are tuck nicely away, i would then go out again looking for things to make the room look cluttered.

why?

Report on "The Recorder"

I've decided to make a tranducer.
The original idea came from how when a train moves along the metal rails. Even from the otherside of the platform you can hear the violent shaking and the sounds of the train arriving moving towards you. That isnt a tranducer, but the friction between train and metals rails converting into sound and kinetic energy, and the rest is dispersed along the metal rails (the movement/shaking metal rails.)

Conclusion = tranducer machine to 'convert one energy into another form' to record a certain data.

Question= What to record
Ideas;

1. Record the vibration/sound of the buildings when a train arrive.

• Different distances, approaching, directly on top and leaving.
• Detailed time record when these train travels across these bridges
• In mm of the vibration of the building
  
• With these record i will be able to find out the frequency of trains passing by

Will Alsop Times Interview + Annotations

Will Alsop OBE, the maverick architect and member of the Royal Academy (he is one of the selectors of this year’s Summer Exhibition), has won many awards over his 61 years. There is one, however, that has so far eluded him: best front garden of the year in Sheringham, north Norfolk, where he and his wife, Sheila, 62, have had a holiday home for more than 25 years. “It would mean more to me than the Stirling prize,” he has said.

Alsop is best known for modernist buildings such as Peckham library, in south London, where the upper floors are supported on spindly legs that look like skewwhiff knitting needles — for which he bagged the said Stirling prize in 2000. One of his most high-profile works in progress is Chips, a residential building in Manchester that resembles a neatly stacked pile of pommes frites.

So, it is something of a surprise to walk down the stone-set path of the long front garden in Norfolk, under the shade of a Giverny-style arbour, and arrive at a late-Victorian red-brick house filled with comfortable sofas, books, antique china and paintings. Where are the contemporary building materials, the modernist furniture, the wacky colours?

“It is not just my house, it is Sheila’s as well. I concur with her taste,” says the man sometimes known as Mr Blobby — surely for the splashes of colour on his buildings, rather than his cheerfully unkempt appearance, which comes wreathed in a fug of cigarette smoke. “This is not a great art; the house has nothing to do with great design. Using a word that most architects don’t use, it is ‘cosy’, and I am comfortable with that. Actually, as I get older, I try to incorporate that in my other work.”

We sit in the glass- and aluminium-walled dining room that Alsop added to the back of the house with materials left over from a project in France. The room, which replaced a conservatory and small terrace, is contemporary in feel, but hardly pushes the frontiers of design.(Seems that there is more benefits of being an architect besides fame, building spontaneous things with left over freebies. I wonder if he had build the dinning room because he had the extra materials, or was it just by chance. I often find when things were build/created/happens spontaneously i often like them better. Would it be, when working with an material that was chosen for you, one would consider the properties of that material what it can offer and could be. But when choosing a material for a certain purpose, one is left with an extra job of decide on the material that fits. Does that make sense?)

Beneath, in a series of terraces, is a narrow jungle of a garden, planted with tree ferns, phormiums, palms and large pots of hostas and hydrangeas. You can just see the sea through the trees and over the top of the boundary wall. Goldfish swim in the small pond beneath the window. (During foundation year there was an lecture held by Will Alsop himself at the CSM cochraine theatre. After the lecture running 30minuets behind schedule, the lights dimmed and the spot light struck the lecture speech stand. Will Alsop himself strolled in the room holding a pint of beer. I hadn't researched any work or bio of Mr Alsop, but in my mind i stereotype architects as people whom should be immaculate, well presented, skinny-suited-glasses type. Although Will Alsop surprisingly had long wavy dark brown hair, very 'full', very 'cosy' clothings and his love for alcohol and cigarettes was obvious. He started off greeting the audience by insinuating that he is recovering form an hangover and is fighting it off by drinking more, and is desperate to fall asleep.

But surprisingly i find him a cunning and charming man. It was a 2 hour lecture, i was fascinated by the way he presents about his work. And from then on decided that if Norman Foster was the 'Big Mac meal', Will Alsop would be the 'Happy Meal' + Toy)

There’s a lunchtime bottle of red on the long maple table, which Alsop designed. He points to a sofa at the end of the room that catches the evening light. “If you really analyse both the house and garden, it is all about different places to sit,” he says. “I like a bit of sitting. That’s the gin-and-tonic sofa.”

Another favourite G&T spot is an outdoor bench by the front door that benefits from the warmth captured by the red-brick wall behind it. Similar seats are dotted around the jungly garden for different parts of the day. There is even one by the barbecue, though, he says, “we try not to have barbecues — dangerous things. They are the quickest way to arguments”. His role is to light the thing and eat the results: “If I cook, it is always burnt.”

The couple bought the five-bedroom house in 1982. They wanted somewhere out of London for weekends and holidays (these come less frequently nowadays, as Alsop is often abroad on business; he has offices in Shanghai, Beijing, Toronto and Singapore, and is a professor of architecture in Vienna), and Sheila’s parents lived nearby.

It is also a six-minute walk from the station, which was convenient, as Sheila didn’t drive at the time. When their children, Oliver, now 31, Nancy, 29, and Piers, 24, were growing up, friends could be easily collected from the station.

Queen Victoria’s visits to the nearby Sandringham estate, which she bought in 1863, popularised the area, but Sheringham is now a rather down-at-heel, old-fashioned kind of seaside resort. Although Alsop lives in Kensington, west London, he has no desire to join those neighbours from the capital who decamp in clannish clumps to smarter towns such as Burnham Market and Wells-next-the-Sea, to the west.

The town has several run-down hotels, a legacy from its Victorian glory days. “If someone wanted to invest, you could do something fantastic with these hotels, but they don’t, so that is the end of it,” says Alsop. His own house was once the stables for such a hotel; in the second world war, it was used by the military for maintaining motor vehicles. A local builder converted it in 1951, and it was pretty much unchanged when the Alsops bought it 30 years later from the estate of an old lady who had died. “The house had been empty for six or nine months. Houses show that; you feel it when you go into them.”

Just as he was unpacking the furniture, Alsop got a phone call. “This is really peculiar. It was North Norfolk district council, wanting me to build a swimming pool in Sheringham. I thought it was my business partner playing a joke on me. In the end, I said, ‘F*** off, John’, but then I realised it was a genuine inquiry.” Alsop’s unorthodox response to his first stand-alone commission didn’t deter the council, and the pool, finished in 1987 and opened by Princess Diana, still exists. “Except that they have ruined it,” he laments. “They have painted the outside blue and yellow to cheer it up. It is supposed to be stained timber.”

The project was a good way to spend time in the town and get to know it. “I started to fiddle with the house, a bit here, a bit there; it just evolved.” As did the garden, which grew over the years from a narrow strip at the back of the house to encompass two extra areas bought from neighbours around the corner — visitors liken it to a Tardis.

“I would plant a few things, then come back, and suddenly they were in flower. You get this delayed joy; that is terrific. From that, I became more and more serious, and started to think about what I would like it to be.”

At the far end is Alsop’s studio, next to a paved patio with yet more seating. On the table is a thick pile of his paintings. He has one in the Royal Academy’s summer show of some flower-like shapes. Its title? I Wish My Garden Was Really Like This. In fact, the garden at the back of the house is more about greenery and strong shapes than a riot of floral abundance. He and Sheila “don’t go for lots of colour”.

Thanks to the mild seaside climate, they have pines, figs, a tamarisk, South African restios, potted shrubs and ivy-clad walls. Although the beach is only 10 minutes away — Alsop starts taking dips in the sea when it has warmed up in early July — it is not a place to sunbathe. A canopy of high branches covers much of the space in dappled shade. “It’s a high umbrella and a garden full of telegraph poles,” he jokes. Perhaps his garden is where he got his inspiration for Peckham library.

The front garden is more formal, with a series of parallel lines created by the path, a long rectangular pond (or “short canal”, as Sheila calls it) and a row of agaves in long-tom pots. Extending down the garden is a box parterre, in which olive trees are planted. They were pruned recently by Wayne Nolan, the gardener, who comes in once a week, and are looking rather the worse for wear. “He didn’t have a clue — and why would he? — how to prune them, and it isn’t like that,” says Alsop. “I learnt that in France last week.”

There is also an Indian chestnut tree near the street. Alsop had hoped its black nuts would be his secret weapon in the annual office conker championships. “They are not. They are pathetic.”

Away from the front garden’s formal structure, things are left pretty much to themselves. At this time of year, self-seeded hollyhocks and campanulas are happily flowering beneath the tunnel and in the gravel beside it. “An over-designed garden feels dead,” says Alsop.

His approach to his outdoor space is much the same as to his architecture — letting the other elements, whether they are plants, clients or local communities, play their part, and not being too precious about allowing their contributions. “In your twenties, you think reading the philosophers and indulging in theory is going to help,” he explains. “I can assure you that it doesn’t. By the time you get to your thirties, you downgrade it all to ‘concept’. At 40, that becomes, ‘Well, maybe the idea is all right.’ At 50, it’s ‘a notion’. At 60, ‘Not a f***ing clue’.

“It’s sort of liberating. I have become suspicious, whether it is a garden or whatever, when people start talking about the justification for their design. I don’t believe in the word ‘inspiration’. You just have to do it.”

http://property.timesonline.co.uk/tol/life_and_style/property/gardens/article6538838.ece?token=null&offset=12&page=2

Great product

How to Architect

Architect is Invention

Will Alsop - comments on home

It maddens me when I'm accused of living a country idyll on the east coast. We have a cosy home in the centre of a Norfolk town, but I also live in this unfussy Kensington flat. I'm much more at home here. In fact, I can't stand the countryside – who wants to have to get in a car to go and buy a pint of milk? (Likes convenience to obtain every day needs, "cosy")

Sheila and I moved here in 2002. It's a typical Edwardian mansion block. I like it because our friends are nearby, as is Holland Park, and I can walk to the museums, even Harrods if I had to. This area of London is home. (Area close to friends, and places to go to)

We hardly moved anything from our old London place – we had an instinct to buy new and to make life simple. There's a sense of impermanence in the pace of London life, and it feels in rhythm to travel light. We're lazy shoppers though, so most of the furniture in the sitting and dining rooms came from The Conran Shop. Then Sheila discovered the Petersham Nurseries in Richmond, and quirkier odds and ends began to creep in: an old chandelier here, a wooden tea tray there.(convenience in living or easy way and possibly the as he quotes lazy shopping, furniture appear some what by chance. Even such a prestigious architect is only human. )

Sheila insisted we bought a flat with a garden. I wanted to be higher up, but now I realise she was right. In summer I sit out with the plants that have survived winter, and those I freshly plant each May – the mad monkey puzzle and these wild grasses. It's the perfect spot to have a gin and tonic and a cigarette and read the newspaper in peace.

The flat is scattered with the work of artists I know and love: Bruce McLean, who is a very good friend of mine; the late Terry Frost, a good old northern painter who works well next to the Australian artist Annie Grace.

The coloured blocks in the hallway are by Kate Dineen, an artist I commissioned to do a large piece at Palestra, an office building I designed in Blackfriars. Kate grinds down marble and reconstitutes it into these various blocks – they're fabulous and remind me how much I like her.

It upsets me that in other people's homes you're given a drink and there's nowhere to put it. The floor is simply not a table. For the sitting room, I designed these sofa-side metal tables to get around the problem – one is for your drink and one is to have somewhere to flick your ash. I wanted to make a third to hold a book or magazine at a good angle for reading. Annoyingly, the design didn't quite work.

On the living room wall there are two simple paintings of mine. They feature four of the things my wife loves most about our Norfolk house: a teapot, a poppy, a bread crock and a native Norfolk plant. It links the two homes and I like that.

The dining table was the first I designed. The spotlights beneath its glass top cast this wonderful dull light when it's dressed with a tablecloth. It flatters guests. The dining chairs are office chairs with wheels. Once people have sat down I don't want them to get up, and they rarely do.

One of my favourite items in the kitchen is a bar-standard wine-bottle opener, a gift from my wife. Whisky is my winter drink, and gin and tonic is for summer, but I'm faithful to red wine above everything. It's so satisfying to tug the lever down that sometimes I simply have to open another bottle immediately.

Souvenirs that are merely dust-catchers irritate me, but I understand them if they have a use. My youngest son bought me a painted bowl from a recent trip to Mexico with his wife-to-be, that also has pride of place in the kitchen. I noticed he bought another for himself that was much nicer, but I like this because it's so uncompromisingly tasteless.

At the moment, both my grown-up sons are having their flats done up, so they're back here – which I love. My daughter lives nearby and often stays the night too if she feels like it. I'm intrigued by how long my sons manage to spend in the bathroom. Sheila and I are in and out of the bathroom, so it's a simple space. I've never understood the notion of relaxing in the bath with scented candles.

Homes have their own life, and I think this flat is a friendly animal. The kitchen is the centre of life, but I like it when the guests have gone and the air still has the faint after-glow of happiness and laughter. Then I'm relaxed sitting here with my sketchbook: writing a little, drawing a little.

When I was younger I dreamt of designing my own home and did the odd sketch to boot, but now I'm keenly aware of my shifting tastes. I'm much more inclined towards the rustic as I age. Also, style goes out of date, despite the nonsense the modernists say about classic design.

Some architects do their houses up as an extravagant showcase of their work and it's often assumed my home will be the same. I wonder how they can possibly live like that, though. Supposing they changed their minds?

SMC Alsop, the architecture firm of Will Alsop, is one of the UK's most successful practices. His designs – from North Greenwich Tube station to Hamburg Ferry Terminal – are often praised for their use of bright colour and iconoclastic form. He's now 60 and lives in London and Norfolk with his wife Sheila.

Youtube

My mother... hahaha

Respect

3 weeks of painstaking video project, 8 Minuit film.

New insight of life.Respect for the creator of this film, 2 simple shots, uniting music rhythm subject movements. Conclusion; Farcical joy........

In fact, respect for anybody whom contributed any clips on youtube...

quote flatmate; JOni

Effort man,,, effort... (squint eye, drag cigarette)





Clip from http://lukakarssenberg.blogspot.com/

The September Issue

Anna Witour & the making of Vogue

The Legendary Editor-in-chief of Vogue

A film by R.J.Cutler

Taking the viewer to a world they think they know, the working process of famed Ice Queen, Anna Witour. Her notorious….ahem…strenuous work ethic…was captured in film.

Releasing the impenetrable glamour of Witours's couture, revealing behind the scenes of the magazine that reached an audience of 13million people, and impacting the $300Billion global fashion industry more than any other single publications.

THIS is the REAL 'Devil wears Prada.'

The mysterious body gestures
The gentle yet intimidating tone, sending shivers down your spine.
Her teams admirations and panicky attitude
Gaging designers by her every question.

A bit like my mom .....

Couldn't help but admire and the urge wanting to know more about her. The birth of a STALKER!!!!

"LaughOutLoud"

http://www.theseptemberissue.com/#/home
http://community.livejournal.com/foto_decadent/1580482.html

The Hoerengracht

Gaston Bachelard

Gaston Bachelard- epistemologist, philosopher of science, and the theorist of the imagination - influeced key figures in the structuralist and post-structuralist gerneration of the post-war era.

The philosophy of No: 'The space in which one looks, is phlosophically very different from the space in which one sees is always a represented space, and not a real space. Only by recourse to philosophy can one take account of this.'


to be continued......

History and theory lecture 2/12/09

Jacquard Loom, invented by joseph Louis Jacquard (1752-1834)
invented or perfected this device for automating textile weaving.
complex patterns could be “programmed” via punch cards.
(image of machine jacquard Loom)
http://en.wikipedia.org/wiki/Jacquard_loom
Duplicated, reproducing, not really generating ideas. Mechanical devices which make complex brain operations, mathematical complexes. A line to the development of industrialisation and commodities development .
Lyon = important silk city
http://en.wikipedia.org/wiki/Lyon

Beginning of complex movements by mechanically.

Charles Babbage, the Difference Engine (1822) was an automatic, mechanical calculator designed to tabulate polynomial functions. Both logarithmic and trigonometric functions can be approximated by polynomials, so a difference engine can compute many useful sets of numbers. the analytical machines, able to perform complex mathematical tasks, using punch cards.
Compute and fast solutions.
http://en.wikipedia.org/wiki/Difference_engine

Lay cathedral of culture : Gehry's Guggenheim museum, Bilboa.
At the time it signify a new departure; to have new buildings layed down with meanings, religion which at the time is more devissive than buildings and communities.
"Normal/traditional" buildings were nice and neutral and appeals to every body. New art buildings not the fusty british museum type, something that says that culture and art is very much part of our worlds, higher status for architects, Guggenheim was an iconic pattern breaker.

Frank Gehry doodles and draws, he talks people through it and makes lots of paper models. Frank Gehry pioneered the use of digital fabrication in the 1990s

His primary inspiration is sculptures. Richard Serra . translate complex drawings .
Frank Gehry, concept sketch and finished walt disney concert hall, LA, 1988-1999 (IMG)
transforming application from one to another. (auto CAD)

Lewis Residence, 1995. ink on paper. gehry partners, LLP
structural properties built in to the equation + computer.

Peter B. Lewis Design Process Models, 1992 Mixed media (plaster, wood, metal screen, paper)
A reaction of visualisation of the mechanical calculation

Lewis Residence: Final Design model, 1995. Milled paper, basswood, acrylic, museum board.

'we must use the new instruments to address old architectural problems; not to create new problems.'

Programme, plan and floor are based on movement each time, while perception only comes into place later, when walls and partition are being designed. human activities, the continuity of habits and routines, experience: these are what should influence the whole geometry of the building. Perception and movement are one; experience and programme
NOX architects, water exhibition centre 1997

Collect data of what the inhibition of a particular area, what were reacting and thinking.. etc
meant to visualize water, it would be a experience of being inside a fish.

D-tower, built in Doetinchem 2004 the Netherlands, is a sculpture where the intensive (feelings, qualia) ad the extensive space quantities exchange roles, where human action, color, money, value, feelings all become networked entities

designed by NOX architectures, the tower is connected to a website in 2 different ways.

1. The websites is a visualization of the responses of the 45,000 inhabitants of Doetinchem to a questionnaire which deals with emotions like hate, love, happiness and fear.

2.the four emotions are represented by four colours, green red and yellow
architecture between communication and information
oosterhuis. nl, Noord-Holland pavilion for the florida 2002 exhibition
the free unfurling of the function that, from an industrial of view, represented the idea of an expanding machine now increasingly tends to be replaced by a logic based on the space between, there is a tendency to work in between also because we are forced to do so by the presence of existing buildings, the idea of efficient building structures and frameworks is replaced by the formula 'engineering is the art of the possible'
Antonino Saggio


“Gehry is shape-driven ” says Shop partner Gregg Pasquarelli

“we're more process driven. we would never build an elaborate frame work to support a curve. we'd let the curve be determined by information from our materials suppliers or by the parameters of the fabrication techniques.”

290 mulberry , NYC ship architects
molded by nature, but in-fact was molded all by computer calculation

The obsession with organic shapes, ability of the new computers to algorithms.
fascination with organic forms, because it is possible to calculate. to make it look it was a result of some tectonic pressure

the Yas hotel, Abu-Dabi , uae 2007-2009 by Asymptote: Hani Rashid + Lise Anne couture


Glass tower. La Cienega and Jefferson, LA
completion: proposed
Architect: Eric Owen Moss Architects
parametric design
http://aedesign.wordpress.com

http://morphopedia.com/projects/pharestower
morphosis, Phare tower project, Paris

Morphosis Giant Group Campus
the giant campus is a compact village that accommodates divers programmatic function i a flexible frame work of architectural forms that move into and out of a sculpted landscape.

michael Hanseyer:2004
portfolio.com/L_Systems/ls7.html
Lindenmayer systems in architecture nature's growth processes as generators of architectural design: turtle graphics with branching
Replication through software + graphics = fancy stuff

Fly through animation for Guange Zou, Zha hadid 2005
(animation)

Fly through is something that works within a computer generated space. super man vision.