Eddie Putera
taylor price
Aqua Utopia|海の底で記憶を紡ぐ
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DEAR READER

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Alisa U Zemlji Chuda

Origami Around

JVL
will byers stan first human second
occasionally subtle

if i look back, i am lost

Andulka

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Cosmic Funnies
Xuebing Du

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❣ Chile in a Photography ❣

Love Begins

Kiana Khansmith
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@duckduck-ezam
Eddie Putera
白日不到处,青春恰自来。 苔花如米小,也学牡丹开。
袁牧
我不和你談論詩藝 不和你談論那些糾纏不清的隱喻 請離開書房 我帶你去廣袤的田野走走 去看看遍處的幼苗 如何沉默地奮力生長 我不和你談論人生 不和你談論那些深奧玄妙的思潮 請離開書房 我帶你去廣袤的田野走走 去撫觸清涼的河水 如何沉默地灌溉田地 我不和你談論社會 不和你談論那些痛徹心肺的爭奪 請離開書房 我帶你去廣袤的田野走走 去探望一羣一羣的農人 如何沉默地揮汗耕作 你久居鬧熱滾滾的都城 詩藝呀!人生呀!社會呀 已爭辯了很多 這是急於播種的春日 而你難得來鄉間 我帶你去廣袤的田野走走 去領略春風 如何溫柔地吹拂著大地
我不和你談論 吳晟
我是和你是的方式,即我們人據以在大地上存在(sind)的方式,乃是Buan,即居住。所謂人存在,也就是作為終有一死者在大地上存在,意思就是:居住。古詞bauen表示:就人居住而言,人存在(sei);但這個詞同時也意味著:愛護和保養,諸如耕種田地,養植葡萄。這種築造只是守護著植物從自身中結出果實的生長。 | 一、築造乃是真正的棲居。二、棲居乃是終有一死的人在大地上存在的方式。三、作為棲居的築造展開為那種保養生長的築造與建立建築物的築造。
海德格爾《築·居·思》
It is difficult to design a space that will not attract people. What is remarkable is how often this has been accomplished.
William Holly Whyte (via imaginingcities)
Adventure Playground, Colonial Kowloon, 1969
A little dream
找到一個讓我覺得自由自在的人
一個人是一百分快樂,兩個人是兩百分快樂:)
I remember when I was at Oxford saying to one of my friends that I wanted to eat of the fruit of all the trees in the garden of the world, and that I was going out into the world with that passion in my soul. And so, indeed, I went out, and so I lived. My only mistake was that I confined myself so exclusively to the trees of what seemed to me the sun gilt side of the garden, and shunned the other side for its shadow and its gloom. Failure, disgrace, poverty, sorrow, despair, suffering, tears even, the broken words that come from the lips of pain, remorse that makes one walk in thorns, conscience that condemns, self-abasement that punishes, the misery that puts ashes on its head, the anguish that chooses sackcloth for its raiment and into its own drink puts gall—all these were things of which I was afraid. And as I had determined to know nothing of them, I was forced to taste each one of them in turn, to feed on them, to have for a season, indeed, no other food at all. I don’t regret for a single moment having lived for pleasure. I did it to the full, as one should do everything that one does to the full. There was no pleasure I did not experience. I threw the pearl of my soul into a cup of wine. I went down the primrose path to the sound of flutes. I lived on honeycomb. But to have continued the same life would have been wrong because it would have been limiting. I had to pass on. The other half of the garden had its secrets for me also.
De Profundi, Oscar Wilde
一個表達別人/只為表達自己的人/是病人;一個表達別人/就像在表達自己的人/是詩人。——張棗《虹》
筆者答道:“當然,那不可能也不必要嘛。一般,要欣賞戲,就得把戲看完;要欣賞樂曲,也得把樂曲聽完,聽完了也未必就懂,其實這都不用說。同樣,只要有了了解建築的意願,那不也要花點時間和氣力,進行獨立體驗,才能從無序發現有序,從有序領會內涵嗎?另一方面,就多數人來說,來到這裡是為了品茗閒淡,並不存心了解建築,然而不自覺有所感受,卻是事實。哦,我想這或許就是你擔心令人迷茫進而受到一定影響的緣故吧!涉及建築的感受問題,那是不能單談建築客體的,也要看主體一面罷。譬如,高峰絕頂,一覽眾山。盪胸沁脾,心情爽朗,這是詩人之所歌,哲人之所頌,上下古今,群體總合出來的常之人情;又哪裡曉得,不是也有失魂落魄,捨身一躍的嗎?那是主體的內心世界不同嘛。再說近一點,當此園中的塹道建成的時候不也有人怕它易於藏污納垢嗎?再說,為什麼對無錫寄暢園的八音澗卻沒有聽說什麼叨叨?是古人風雅附庸者多嗎?古人雷池難越嗎?也許這樣推度仍然流於書生之見。
何陋軒答客問 - 馮紀忠
嬉皮笑臉,面對人生的難。
多西回憶柯布西耶贈予友人的一副手繪圖,三個角色分別是堂吉柯德、特洛伊木馬和一頭驢子——人需要有堂吉柯德的戰鬥精神,不斷與黑暗、消極力量抗爭,為此需要窮盡計謀,哪怕需要設計出特洛伊木馬,當然這一切需要永不停歇地工作,像一頭不會停止推磨的驢。 柯布西耶曾寫過一首詩,題為「雜技演員」(The Acrobatic),「不是牽線木偶/投身於雜技表演/現象環生/他竭盡所能完成各種/高難動作……結果:絲毫不差!他能人所不能」,這首詩也被認為是這位技術樂觀主義建築大師的自我比照。
人似孤舟離蒲岸,漸行漸遠漸生疏。
Dirty Commercial Artist - Illustration and cartoons by Leon Edler for advertising, design, editorial and publishing.
這些「策略」的存在,得來不易,除了有遠見的非典型公務人員持續努力,還有一群相信政府的各領域專業者協助賣力,希望有朝一日「策略們」能成為制度化的「機制」。
http://www.urstaipei.net/transformingcity/current.php
http://www.urstaipei.net/article/20345
http://www.urstaipei.net/article/1235