2010年9月29日 星期三

台灣設計師週匆促成軍嗎

台灣設計師週的網站 http://www.designersweek.tw/index.html中的
DESIGNERS 內容是空的
真是匆促成軍嗎

台灣設計師週Taiwan Designers' Week 2010

快來與其他設計師一同激發設計的火花,交織夢想!台灣設計師週將於展期周末與大家 ... 看不見的設計... News; Spot. 2010 Yii 工藝時尚徵件中. 2010 台灣設計師週戶外 ...

2010年9月27日 星期一

Punta della Dogana Venice

Contemporary art exhibitions Venice - Punta della Dogana Venice
Punta della Dogana present a permanent exhibitions of works from the collection
of François Pinault.

威尼斯建築瘟疫

  • 2010-09-27
  • 中國時報
  • 【?李清志/文】


安藤忠雄的古蹟還魂

 日本建築大師安藤忠雄近年來在歐美屢有佳作,位於水都威尼斯的兩座新美術館建案, 特別引人矚目。威尼斯稅關美術館Punta Della Gogana及威尼斯皮諾現代美術館之葛拉喜館Palazzo Grassi正是安藤大師的新作,安藤忠雄在美麗的威尼斯歷史建築中,施展其清水混凝土在歐洲石造建築的植入(Installation)設計魅力,他保 留了歷史建築的原貌,只在內部空間加上清水混凝土的方塊,以獨立結構系統與老建築共存,令人驚豔!稅關美術館所在三角形半島尖端部分,被設立了一座嶄新藝 術雕像,那是一尊裸身男孩手上抓著一隻青蛙,似乎要將這隻青蛙丟到威尼斯城一般,成為威尼斯最新的地標物。

 男孩將青蛙丟到威尼斯城裡,是要將瘟疫病毒施放到水都,亦或是為了將瘟疫驅逐而作法?我無法確定,不過我內心卻暗暗希望,男孩丟下的青蛙可以將威尼斯夏日瘋狂的人潮嚇跑,恢復水都冬日的寧靜與詩意。





tadao ando: punta della dogana museum in venice

it's not every day that a major new gallery opens in venice. after 14 months of restoration,
the punta della dogana museum by japanese architect, tadao ando opened to the public
on june 6th during the venice art biennale. its first exhibition 'mapping the studio: artists
from the françois pinault collection' was curated by alison m. gingeras and francesco bonami.
owned by french francois pinault, whose business empire also includes gucci and yves saint laurent,
he has one of the world's largest collections of contemporary art, of some 2,500 works,
of which 141 are destined for the punta della dogana's permanent collection.


punta della dogana in venice, the gallery occupies a prime position.
image © designboom


for the past 30 years, the customs houses on punta della dogana have lain empty,
official impasses at the highest level saved the site from being turned into a hotel
or apartment block and, eventually, the solution for this art city was agreed.
at a cost of 20 million euros (28 million dollars), the new gallery will expand the
pinault foundation's presence in venice, who already owns palazzo grassi.


sketch by tadao ando
image courtesy palazzo grassi


the punta della dogana building in venice has a simple and rational structure.
the volume forms a triangle that directly corresponds to the shape of the tip of dorsoduro island,
whereas its interior space is dividend into long rectangles by a series of parallel walls.
with great respect for this emblematic building, all partitions that had been added during
previous renovations were thoroughly removed in order to recover its original form,
at the very beginning of its construction.


frontal view of punta della dogana (construction dates back to 1414 / rebuilt in 1675)
image © designboom



arial view
image courtesy palazzo grassi


the difficulties the architect encountered were largely due to the nature of the terrain –
for example, the foundation of the church required the sinking of some 1,200,000 oak piles.
the basic approach to the exterior renovation of the building consisted in carefully restoring
the original façades, except the openings which were entirely replaced through this renovation.

the project conceived by architect tadao ando included restoration work at several levels:
1. protection against water the base of punta della dogana is placed at 1.5 m above sea level.
this positioning is relatively high in venice and represents a natural protection against the tides
(to draw a comparison st. mark’s square is only 90 cm above sea level).
in order to improve the building’s overall waterproofing, a protective shell was installed –
also called a water hold-up tank – whose area is 2,500 sq. m. the hold-up tank is equipped
with watertight bulkheads along the entire perimeter and mobile protections for the doors,
thus ensuring protection against high water up to 2.10 m. thorough archaeological excavations
were carried out before building the protective shell, using the most innovative
technologies available.
2. structural consolidation and restoration of the masonry
the building’s structural consolidation required the installation of micro-piles
where the original foundations were insufficient (especially at the end of punta della dogana),
as well as the fastening of the brick corner walls. as far as the walls are concerned,
the architectural choice was to leave the masonry visible. bricks were adequately restored
by eliminating all decay factors and replacing the most seriously damaged elements
by adopting the traditional scuci-cuci (unstitching-stitching) method.
this entails damaged bricks being replaced one by one with intact bricks,
and laid with mortar of the same type as the original.
over 5,000 sq. m were restored using recycled bricks selected from
among those that offered the best guarantee for conservation purposes,
and that featured colour and shape as similar as possible to the original.
the stone facing outside the complex was restored using traditional methods.
it was structurally reinforced, where necessary, by inserting stainless steel bars,
new tie-beams and lime-mortar injections, in order to fasten the fractures and mend the
damage suffered by architectural and structural elements, as well as to eliminate the
empty spaces between the facing and support.
the exterior coating at the register of the gates’ arches was entirely recovered and restored.
the heavy existing damage due to biological agents was inactivated by means of reiterated
biocidal treatments which effectively contributed to the recovery of the surface.
the rusticated façade, made of bricks covered in plaster, was selectively restored
by rebuilding the plaster where the bosses were intact; otherwise, bricks, adequately restored,
were left in full view.


'boy with frog' sculpture by charles ray, 2009
cast stainless steel and acrylic polyurethane
image courtesy palazzo grassi



'boy with frog' sculpture by charles ray, 2009
venice's new landmark is 2,4 meters / eight-foot tall.
image © designboom



from left to right: françois pinault with charles ray and tadao ando, curators alison m. gingeras and francesco bonami
image courtesy palazzo grassi



logo of punta della dogana museum


'untitled (blood') by felix gonzalez-torres,1992
curtain with plastic beads, metal rod
image © designboom


a curtain of red and clear beads, gonzalez-torres wanted the viewer not only to look
at the present piece. gonzalez-torres remembered seeing the results of his lover ross laycock's
disappointing HIV blood-tests, "I said to him, 'honey, this is your blood. right here. this is it.' . .
and it was even more frightening because all the numbers could be easily reversed.
it is a total abstraction; but it is the body. it is your life but also to walk through it and touch it.'
ross laycock died in 1991 after a prolonged AIDS related illness.
in this same year gonzalez-torres' father died as well. like much of his work from this period,
"untitled" (blood) is an elegiac memorial to love and loss.


general view of the entrance
image © designboom



'untitled' by maurizio cattelan, 2007
taxidermied horse: horse hide, fiberglass, resin
image © designboom



'untitled (one hundred spaces)' by rachel whiteread, 1995
resin, 100 units
image © designboom



general view
image © designboom


through exposing the brick walls and wooden roof trusses, the space retrieved its energy
and the memories of the former sea customs were revived.


stairs to top floor
image © designboom



wall and ceiling
image © designboom


the building’s original roofing was entirely restored. the 130 trusses constituting the structure’s
original skeleton were almost entirely recovered. the recovery and consolidation treatment of
the wooden surface amounts to nearly 9,000 sq. m of wood (including the floor framework).
skylights permit the use of natural light in the museum’s halls. 90,000 tiles were laid on
the roof, around 50% of which were original; it was also possible to recover about 50,000 out
of 80,000 tavelle (thin quarries made of fired brick).


sketch by tadao ando
image courtesy palazzo grassi


the work of restoration had to remove the unwanted accretions that had accumulated over time,
with the new partition walls, stairs, walkways and service facilities all clearly identified as such.
in effect, there is no attempt to disguise these new additions within the old body of the structure.
instead, there is a continual play of juxtaposition – almost as if ando’s intention were to insert
within the ancient building new volumes and levels that seem to mark out the stratifications
added over time, organising them into a veritable spectacle of the structure’s own history.
in the center of the building, a square space spans over two rows as a result of an earlier
renovation. tadao ando inserted a 'concrete box' that dramatically transformed the space.



drawing by tadao ando studio
image courtesy palazzo grassi



general view
image © designboom



general view
image courtesy palazzo grassi



image courtesy palazzo grassi

in order to create a rich materic effect with the elements in architectural concrete,
and offer a token of the past, tadao ando selected the traditional venetian floor
(the so-called masegni) for the centre of the cube. elsewhere, the floors were made
of cement (ground floor) and linoleum (first floor). the floor heating system includes
over 28 km of coils circulating hot water.


'skull spectrum' by mathew day jackson, 2009
image © designboom



skull morphing into a tetrahedron, through a spectrum of colors
image © designboom


'dymaxion skeletons' showcases by mathew day jackson, 2008
image © designboom


though the skeleton is dead, it is strong and walks upright.
its hands seem capable of movement, gesture and construction.
the skull, though made of poisonous lead, surmounts the golden geodesic rib cage.
the dymaxion skeleton presents a utopia of being: the utopia of the body as a vehicle for consciousness.


general view
image © designbom



'fucking hell' by jack and dinos chapman, 2008
plastic and mixed media (9 parts)
image © designboom


9 immense tabletop tableaus, peopled with over 30,000 remodelled, 2-inch-high figures,
many in nazi uniform and performing egregious acts of cruelty. the work combined historical,
religious and mythic narratives to present an apocalyptic snapshot of the twentieth-century.


detail of showcase of 'fucking hell' by jack and dinos chapman,
image © designboom



'all' by maurizio cattelan, 2008
9 sculptures of white carrara marble, a stark homage to the victims of the sicilian mafia
image © designboom



window
image © designboom

the design of the new doors and windows, though very modern, effectively employed venetian
traditional craft.


stairs
image © designboom



- jugendstil (axial age), 2005
- neo byzantium (axial age), 2005
- forward (axial age), 2007
- determination of the position: here it is (axial age), 2007 by sigmar polke
image courtesy palazzo grassi



'a football match of june 14th 2002' by huang yong ping, 2002
the work shows women in burkas playing football with US soldiers on a field suspended under a bat-infested cave roof.
image © designboom



detail of 'a football match of june 14th 2002' / it's the date hamid karzai was elected afghan president
image © designboom



'untitled' by david hammons, 2000
swarovski crystals illuminate the basket ball hoop chandelier
image © designboom



françois pinault with the architect tadao ando
image © graziano arici, courtesy palazzo grassi


DOES MINIMALISM MATTER?

http://moreintelligentlife.com/content/lifestyle/stephen-bayley/does-minimalism-matter?page=0%2C1

DOES MINIMALISM MATTER?

minimalismlead.jpg

It has been the defining style of our era, but now it’s in retreat. Stephen Bayley works out whether less will soon be no more...

From INTELLIGENT LIFE Magazine, Autumn 2010

Last June I shared a cab with Grayson Perry, one of Britain’s best-known artists. He had just returned from the Basel art fair, where he had been struck by something. “Everything is now happening all at once,” he told me with a roll of the eyes. There was no longer a ruling style or taste, no common agreement on what is avant-garde and what is retrograde. Today the happening thing is just what is happening. We have reached the end of “isms”.

Minimalism was the last, and most curious, ism of all. The late 20th and early 21st centuries were peculiarly receptive to its poetics of purity—in architecture, in art, in food, in design. This autumn it receives what might be either its coronation or its obituary. “Plain Space” is the title of both an exhibition at the Design Museum in London, and a book by its subject, John Pawson—the elegant Old Etonian architect who, more than anyone, turned a cerebral art-world cult into a deluxe style for the stratum of society where fastidious aestheticism meets high net worth.

The exhibition is not, Pawson insists, a retrospective, but an account of work-in-progress. Still, when estate agents are touting properties as “minimalist-style”, you suspect that the vitality of this ism may have left the building. Was minimalism the last absurd, exhausted spasm of neophilia, the cult of the new that so defined modern taste? Or is it still, and will it remain, the ultimate refinement of aesthetic sensibility: the place we go when we have been everywhere else? The answer to both questions is yes.

In one sense, minimalism had a beginning and end as (nearly) precise as the beginning and end of, say, baroque or pre-Raphaelitism. German architects first used the term “Existenzminimum”—referring to low-cost social housing—in the mid-1920s. The term “minimal art” first appeared circa 1965. Journalists writing about interior design began mentioning minimalism in the mid-1980s. But, unlike baroque or the pre-Raphaelites, the minimal aesthetic has been a continuous element in European culture. It’s been with us in some form since the fifth century BC, when Socrates declared that a well-made dung bucket was better than a poorly made gold shield.

In the 18th century architectural theorists such as Carlo Lodoli—creator of the sternly beautiful Pilgrim’s Hospice in Venice—began to play with the idea of “functionalism”: that buildings must not be compromised by decoration. This idea that architecture must be driven by its function would later dominate the Modern Movement of the early 20th century. Adolf Loos, Otto Wagner, H.P. Berlage, Bruno Taut, Mies van der Rohe and Le Corbusier all, in their different ways, stressed the importance of utility and their abhorrence of decoration. Loos entitled an essay “Ornament and Crime”. Le Corbusier studied aircraft and cars, before stating in 1923 that a house should be a simple “machine for living in”. Even Wittgenstein was at it. In 1928 he built a house on Vienna’s Parkgasse, designing every detail with a severe functionalist authority. Created for the gods, it is now the Bulgarian Cultural Institute.

Minimalism’s origins at the very beginning of organised European thought lend it lasting intellectual respectability. Yet its later 20th-century exponents—the sculptors Donald Judd, Dan Flavin and Carl Andre, the architects Tadao Ando, Peter Zumthor and Pawson himself—disliked being described as minimalists. This denial is one of minimalism’s many paradoxes; another is that minimalism is not, as its name implies, simple, restricted and ascetic. Rather it is wide-ranging, engaging and nuanced: look at the absurd extremism and occult spirituality of the Bruder Klaus chapel in Switzerland, where Zumthor built a wooden structure, surrounded it with concrete, and then set fire to the core. The result is thrilling and beautiful. Similarly, nothing is quite so striking as the fearless spareness of a minimalist interior, with its repertoire of shadow gaps and perfect flush surfaces.

Nor, when it comes to buildings, is minimalism cheap. It costs a fortune to make things look simple. Flock wallpaper, scatter cushions, swags, sconces and escutcheons are convenient ways to disguise nasty constructional flaws or shoddy materials. Minimalism offers no such refuge. Your waxed white plaster walls and black macassar ebony floors are expensive to create (usually aligned by laser) and to maintain. If there is dirt in a minimalist house, it is tragically obvious. If living with less is the ultimate pose of the very rich, it can also be difficult to use.



A strict-observance minimalist interior has appliances—if it has appliances at all—by Dieter Rams, whose pursuit of stripped-back excellence reached its apogee in domestic machines that were simply white, or black, boxes. The food-mixer Rams designed for Braun in 1957 was a near-perfect exercise in Platonic form: sculptural, disciplined, fuss-free. But when you take the perfect Platonic form into the kitchen, you get cake-mix and shredded carrot all over it. (In 1980 I interviewed Rams for a television programme. Sitting in his office near Frankfurt, he told me that design must be like “ze goot English butler”—ever-present, but inconspicuous. To show how his signature grey or white interiors allowed the vivid colours of nature to sing out, he eyeballed the camera and gestured dramatically at a bowl of tulips behind him. They were white.)

Contrarily—again—pure minimalism makes few concessions to function. One London restaurant with a splendidly minimalist men’s room discovered, by unfortunate trial and error, that customers found it difficult to “read” what was what and, in an urgent retro-fit, it had to label its thrillingly discreet features with helpful instructions: “WC”, “tap”, “basin”. It is said that the late Joseph Ettedgui—who sold rails of minimal little black dresses at his Joseph shops—wrapped in white paper every book in his library. They looked beautiful, but were impossible to identify. Convenience and logic are not chapter headings in “The Minimalist Handbook”.

John Pawson readily accepts minimalism’s inherent contradictions. Sometimes I suspect he even cultivates them. I fondly recall the moment when, in order to install some long planks of Douglas fir in his own living room, he had—not at all frugally—to take the roof off his house, hire a crane, and shut down the street for several days. But then no one else has been so inspired a channeller of minimalism’s spirit.

We first met in 1981 at Terence Conran’s design studios. I worked there; he was a young man in the lobby who showed me his drawings while waiting to meet Conran. I immediately liked what I saw. In John Pawson is all the componentry of minimalism. Le style est l’homme: he tends to wear the same outfit of black suede Gucci loafers, chinos, white shirt and off-white cable-knit cashmere sweater. Some critics—and Pawson has several—find this affected, but he simply says that a uniform cuts out the fuss. “Some people are dreaming about what they have not got,” he once told me. “I am trying to forget what I have already had.”

Pawson’s inspirations are as layered as minimalism itself. In his 20s, escaping his family’s Yorkshire textile business and a failed relationship, he went to live in Japan. He apprenticed himself to an austere Japanese designer, Shiro Kuramata, who taught him both the tricks of the cabinet-maker’s trade, such as shadow-gaps, and the philosophy of wabi-sabi, the untranslatable concept that evokes the mysterious essence of things. Back in Britain by 1979, aged 30, Pawson enrolled in architecture school, and became close to both the writer Bruce Chatwin and the contemporary-art dealer Hester van Royen. In 1983 van Royen helped Pawson land a commission to create a new space for Waddington Galleries—so adding direct contact with the minimalist art of Judd, Flavin and Andre to the twin influences of Chatwin’s romantic primitivism and Kuramata’s aesthetic discipline.

For years Pawson worked hard to establish himself, sometimes falling out with clients when they failed to share his own high standards, but still creating a sequence of potently beautiful restaurants, galleries and private houses. These included the Neuendorf House in Majorca, which Pawson calls an “empty cube within a cube”, and the white-walled London flat he converted for van Royen, through which a black floor flows like water.

In 1995 Pawson designed the magnificent Calvin Klein store in New York, all limestone and glass. In 1996 he built a branch of Jigsaw on New Bond Street in London that was a pop song of praise to Cistercian monasteries. In 2005 came the Baron House, a private holiday home in southern Sweden, simple but powerful. In 2006 he built the Sackler Crossing, bridging a central lake at the Royal Botanic Gardens in Kew with a sinuous ribbon of bronze, steel and granite that contrasts with nature while also being at one with it. Perhaps the most visited of his buildings are Cathay Pacific’s first- and business-class lounges at Chek Lap Kok airport in Hong Kong, opened in 1998. But the most important is his monastery at Novy Dvur in the Czech Republic—a superlative realisation of Cistercian design principles, commissioned by a group of Trappist monks in 2004 after they saw pictures of the Calvin Klein store in a book of Pawson’s work. It’s no coincidence that Pawson is the only architect ever to have built both a monastery and an airport: these are places, and designs, that define our moment and its ambivalent possibilities.

Philip Johnson, the architect who was New York’s most influential tastemaker in the second half of the 20th century, used to say that the great thing about minimalism is that it was easy to copy. It has certainly been much imitated. A minimalist kitchen—the kind where a solitary pepper sits on an unbroken limestone worksurface—is today’s default interiors option, available for £150,000 from a German manufacturer, or £1,500 from a DIY store. Cynical hoteliers and me-too loft-developers sell mere emptiness and no-budget-for-furniture as entry-level minimalism. The most important product of recent years, the iPod, is a perfect little essay in minimalist design—everything is hidden, subordinated to a ruthless formal perfectionism. The Apple Store, with 295 branches at the last count, has taken the limestone-and-glass look around the world.

So there is some truth in the view that minimalism turned what was once flagged as art’s final solution into merely a slick style. But it doesn’t matter if one day Elle Decor and Wallpaper* forget about it, as they will. John Pawson will not be deterred. He designs not for fashion, but from compulsion. It may be an absurd vanity to strive, as the Cistercians did, for timeless perfection, but as vanities go, it is an admirable one. Pawson is incapable of clumsiness. His minimalism proves that simple is not the same as commonplace.

Indeed, “simplicity is the final achievement”, as Frédéric Chopin wrote. “After one has played a vast quantity of notes…it is simplicity that emerges as the crowning reward of art.” Minimalism takes Occam’s Razor to mess. It is a grandiose aesthetic of tidying up the world’s visual noise and material clutter. I was saying this to Pawson one day, stroking the secret cupboard doors in his London flat with an appreciative hand, when a touch-latch sprang open and out poured a torrent of cushions, toys, CDs and old magazines. Great art and great artifice are only two syllables apart.

John Pawson: Plain Space Design Museum, London SE1, September 22nd to January 30th

(Stephen Bayley is a cultural commentator. His "A-Z of Design", co-written with Terence Conran, is published by Conran Octopus.)

Picture Credit: Ian Dobbie/John Pawson, Jonathan Player

2010年9月26日 星期日

透視 Philip Glass

philip-glass

公視"意識形態"昨天周日播過
http://www.answers.com/topic/philip-glass

菲立浦 格拉司12樂章紀錄片

格拉斯十二乐章菲利普葛 拉斯12乐章- 视频- 优酷视频- 在线观看

- [ 轉為繁體網頁 ]
格拉斯十二乐章菲利普葛 拉斯12乐章这是位杰出的作曲家,影片中家很让人向往~
v.youku.com/v_show/id_XMTAxNDQ4NDY4.html - 頁 庫存檔



http://www.answers.com/topic/philip-glass

*****
2010/9/26 1600 公視 透視 Philip Glass
談了許多關於藝術領域
先是 "美國對藝術家不有善 所以他41歲才以音樂謀生
做過許多雜工 以開計程車最難忘

Glass attended the Juilliard School of Music (M.A., 1962) and studied (1964-66) with Nadia Boulanger in Paris. 碩士之後到巴黎必須重頭學起 後來學會技巧 改便一生



Philip Glass was the leading composer/performer of the musical movement called minimalism, which emphasized musical process rather than complex musical structures. He simplified the traditional organizing factors of Western music - such as harmony, melody, modulation, and rhythm - and concentrated on creating complex layers of sound through a minimum of musical manipulation. His pieces utilized repetitive cycles of rhythm, similar to Hindu ragas, which change slowly over long periods of time and are said to produce a trance-like state in some listeners.
完全重複就聽不出音樂

起先關心社會政治等之轉型 後來重視個人之轉化

不顧 manage 不求 efficiency 但求 productive (work place) 等等


The Sound of a Voice
翻譯成"聲音中的聲音"
"聲之音" 如何 (仿山之音)

Reich 譯成瑞希 大概只看文字翻譯 瑞克
前一次節目指揮還問 Glass 先生a 的發音為阿或.....

2010年9月25日 星期六

Read, Sir Herbert, 1893-1968

http://www.answers.com/topic/herbert-read


Read, Sir Herbert, 1893-1968, English poet and critic. His studies at the Univ. of Leeds were interrupted by World War I, in which he served with a Yorkshire regiment. After the war he completed his education. His first volume of poems, Naked Warriors (1919), treats the horrors of war. An advocate of free verse, he published poetry all his life; his last volume of Collected Poems was published in 1966. Read was an important critic of both art and literature, and he influenced the treatment of these subjects in British education.

As an art critic he defined and advocated various modern art movements and aided the careers of many British artists, notably Henry Moore. His works of art criticism include The Innocent Eye (1933), Art and Industry (1934), Art and Society (1936), Education Through Art (1943), Art Now (1948), The Grass Roots of Art (1961), and Art and Alienation: The Role of the Artist in Society (1967).

As a literary critic, Read reasserted the importance of the 19th-century English Romantic authors, most notably in The True Voice of Feeling: Studies in English Romantic Poetry (1953).

His other works of literary criticism include Form in Modern Poetry (1932), Coleridge as Critic (1949), and Phases of English Poetry (1950). Read also wrote many essays, some of which are collected in The Cult of Sincerity (1969).

Bibliography

See his autobiographical The Contrary Experience (1974); studies by W. T. Harder (1972) and G. Woodcock (1972).



Select List of Works by Herbert Read

  • Arp (The World of Art Library) (1968)
  • Art and Alienation (1967)
  • My Anarchism (1966)
  • Unit One (1966), editor
  • To Hell With Culture (1963)
  • Eric Gill (1963)
  • Introduction to Hubris: A Study of Pride by Pierre Stephen Robert Payne (1960)
  • The Tenth Muse (1957)
  • Icon and Idea: The Function of Art in the development of Human Consciousness (1955) 形象與觀念 杜若洲 自費譯印 台北 1976
  • Education Through Art (1954)
  • Revolution & Reason (1953)
  • The Art of Sculpture (1951)
  • Education for Peace (1950)
  • Existentialism, Marxism and Anarchism (1949)
  • Art and Society (1945)
  • Education Through Art (1943)
  • The Paradox of Anarchism (1941)
  • Philosophy of Anarchism (1940)
  • Anarchy & Order; Poetry & Anarchism (1938)
  • Collected Essays in Literary Criticism (1938)
  • The Grass Roots of Art (1937)
  • The Green Child (1935)
  • Art and Industry (1934)
  • Art Now (1933)
  • Wordsworth (1932)
The Meaning of Art (1931) 杜若洲 藝術的意義 台北:巨流 1972 藝術的真諦 瀋陽:遼寧人民 1987
  • English Prose Style (1931)
  • Naked Warriors (1919)

Cezanne: A Study of His Development by Roger Fry 塞尚及其画风的发展

Cezanne: A Study of His Development by Roger Fry 塞尚及其画风的发展

超现实主义艺术思想中的电影银幕The Screen in Surrealist Art and Thought

超现实主义艺术思想中的电影银幕The Screen in Surrealist Art and Thought

London Design Festival 2010

The London Design Festival is a nine-day celebration of design in the world’s creative capital. The Festival is a platform for the widest spectrum of design disciplines, brought together as a unique and accessible programme.



  • 2010-09-25中國時報【江靜玲/倫敦廿四日電】
台灣質優精緻的文創設計,廿三日首次在倫敦設計節「100%設計」展 (100%design)中亮相,吸引了廣大目光與好評。「100%設計」總監韓佛瑞(Juliann Humphryes )更盛讚台灣為「創意大國」。

 「100%設計」是倫敦設計節(London Design Festival)中最受矚目的創新設計國際展場。參展評審挑選過程嚴謹,平均淘汰率為五○%。台灣今年首次以「美好台灣」(Bravo Taiwan )為主題報名展覽,結合台灣民間、業者和政府的力量,把台灣的軟實力,推向國際。

 本身為英國知名建築和室內設計師的倫敦「100%設計」展總監韓佛瑞女士,對首度參展的台灣文創給予高度評價。在廿三日的開幕致詞中,特 別指出,「在全球創意設計中,今年來了一個很重要的國家─台灣」。她強調,台灣雖是第一次來參加,卻是一個不可忽視的「創意大國」。

 而以客家花布為背景的台灣館在廿三日展出第一天,更吸引川流不斷的造訪者。對參展的九家台灣品牌的創意與產品,不時發出讚嘆聲。一位參觀者對台灣設計產品的創意和精細,表示驚訝,「原來台灣不只生產電腦而已!」

 負責策展新聞聯繫的溫德斯特(Julienne Wesdter)透露,台灣館在這次展覽中,得到「好得不得了的回應」。許多媒體對台灣館興趣濃厚,認為台灣文創設計充滿了「新鮮感」。

 參展台灣代表團團員、台灣商業總會文創產業市場開發顧問郭正雄表示,這次展出是政府和業者合作,把台灣文創商品以台灣品牌形象,端上國際的佳例。我國駐英代表張小月也指出,台灣有絕對的文創實力,在政府有心推廣下,期待台灣有一天可以從製造業大國,變成創造業大國。

Change by Design-- How Design Thinking Transforms ...

Change by Design-- How Design Thinking Transforms ...

2010年9月19日 星期日

Here's 30 of the best....


Here's 30 of the best.... from KJ Wu

1. Erotic Shopping

2. ASPE Crime Stories Bag


3. Ann Summers - Kinky Whip


4. Shumensko Beer Crate


5. Volkswagen Golf GTI Bag



6. MERALCO: UNPLUG TO SAVE



7.. Greenpeace - Give Me Your Hand


8. Children with Autism


9. Stop'n grow: Nail biter


10. Panadol


11. Daihatsu


12. Red Cross - Volunteers Needed


13. Gaia: Animals Torture


14. Sawney Bean - Cannibal of Scotland


15. ReVital


16. Muse Bags


17. Yulia Tymoshenko


18. YKM Shopping Bag: Jump Rope


19. Fitness



20. Clothes in Closets: Knuckle Bag


21. Blush Lingerie: X-Ray Bag


22. Floating Magic-I Bag

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23. Wheaties Shopping Bag


24. Alinna


25. Book


26. Headhunting Agency Shopping Bag

27. Karl Lagerfeld Shopping Bag

28. Olympic Shopping Bag

29. Tom of Finland Shopping Bag
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30. Samsung TV Bag