旺才停博了，因为老了。竟然有那么多人为一个男人老去而感伤——

 

　　有什么大不了的？不就是笨死了（奔四了）嘛——

 

　　http://daidunfeng.spaces.live.com/　（推荐旺才博客上不笨的文章。）

 

 

　　　柏杨曰：

　　　“太厚的忧患意识使人变成惊弓之鸟，太薄的忧患意识使人麻木不仁。中国人不断遇到灾难，人们分趋两个极端。遂使灾难更重更惨，更难摆脱。”

 

　　今天坐在地铁里看书时，读到这段，觉得靠谱。

 

　　从小块头那儿得到了一个msn 插件的下载网址www.msnshell.com，安装后，可以以幻灯形式更换头像，还可以滚动显示个人信息，挺好玩，所以推荐给大家了。

 

　　特别感谢小块头的资源信息。

 

in Conversation with Xu Xiaofei of Tsinghua University Beijing
Ideal City - Real Projects Architekten von Gerkan, Marg und Partner in China, Hatje Cantz

---

 

 

 

I can hardly determine the differences between the many new buildings being designed by Chinese architects and those by foreign architects that have been realized over the last few years in China. Obvously they have one common denominator: to copy American models, use materials that convey high-tech and progress and nevertheless decorate them with seemingly traditional Chinese elements.
I believe that this architecture is influenced by the interaction of the peaple's consciousness that still wants to maintain traditional elements, but at the same time would like to emulate the progress of the United States of America in their cities, which is despite all critical detachment highly valued, and the architects, who use those means in their intention to fulfil this wish generationg a mix of progress, traditionalism and pleasant accesories.

 

 

I cannot identify a hierachical structural strategy in the town planning development of any Chinese city. According to my opinion decisions are extensively fragmented, that means they are made with regard to single projects whilst neglecting the super-ordinate town planning context. In doing so, much of the specific identity of individual Chinese cities is being lost.

 

 

As I do not know the design process in Chinese practices, I cannot make a direct comparison with our working method. The significant characteristic of our method is the strictly hierachical, conceptional procedure: Development of the initial concept by hand of thoughts of the designer himself despite our more than 300 employees; asking of questions and development of a concept and subsequently the generation of a detailed planning on that basis. In many large practices, especially in the USA, I have observed that the working method is characterized by a strong division of tasks, with single design elements being brought together and priority being given to existing detailed considerations "off the shelf" that are assembled to form an overall solution, instead of the prevalence of an overall concept.

 

 

The "Gan Bei" ceremony during every dinner that tries to test our ability as Europeans to hold our drink.

 

 

Traditional differences between the lifestyles and requirements in urban structures and living environments in Europe and China are considerable. In the meantinme China's development approaches in a dynamic gallop the structural characteristics of American cities with the dominant relevance of motor traffic. In most European cities the traditional character and typical features have been maintained up to the present day. Cities such as Paris, London, Berlin or Milan can be identified by nose. When closing the eyes, the odour, the atmosphere of the respective city alone is sufficient to identify the city.

This applies to many districts and urban scopes, not only to landmarks and prominent tourist buildings.This helped to maintain the identity of town planning in Europe to a great extent. Whereas in China the modernization leads to the destruction and replacement of almost everything with a traditional character, with the exception of a few significant buildings and memorials, while roads take on enormously wide dimensions. This results in a comprehensive change of scale, generationg identical characteristics in almost all cities. Indeed Beijing's ring structure with the low centre of the Forbidden City can still be perceived as a structural characteristic, the dominance of the numerous elevated roads in Guangzhou is still prominent as well as Shanghai's duality of the boulevard "Bund" and Pudong along the river.
But as soon as the succinct central locations of the cities are left behind, the appearance blends into a diffuse monotony lacking any identity and characteristic.

Solely the climatic differences between the north and south are perceptible in the architectural appearance.

 

 

The discussion with regard to traditional architecture and historic building methods in Europe is at least equally pronounced, but with one essetial difference: Those historic buildings in Europe that are restored as replicas - for example the Berlin Castle with its Baroque facade and new constructional form in the interior - often have a form, regarding their scale, number of floors and structural organization that allows for the integration of modern uses.
In China, on the contrary, buildings with a floor area of 50,000, 100,000, 150,000 or even 250,000 m2 are constructed as one overall building. This immense jump in scale has nothing in common with China's traditional small-scale architecture, so that traditional attributes that are decoratively attached to the facade of motifs painted in polished glass facades rather become a caricature. There are however traditional town planning elements that find their way into our designs in their transformation. One example is the courtyard house, that however appears as a multi-storeyed building in our town planning designs, but simultaneously aims for the same principles of intimacy, security and seclusion of residential living from the noisy environment.
Here we are confronted with another tradition of the Chinese housing construction, namely that apparently according to a sacred rule all residential buildings must be orientated towards the north and the south resulting in terraced housing alone, preventing any urban structure, which benefits from street and square scapes.

 

 

Based on its history and dynamic growth, China should utilize the leap into modern times to prove itself as an independent culture, one that does not copy, use stereotypes, deny or conceal this quantum jump of dimensions.
Structural town planning decisions should be made strictly according to exclusively conceptional criteria, and individual economic interests should be integrated into a clear hierarchy.
The presently preferred architecture, the one operation with pseudo-historic garnishing and decorative, ostensible Chinese accessories, is only suited for a generation of facelessness. A courageous modern architecture alone is able to leave its prominent mark.
A 60-storeyed high-rise building cannot be disguised as a doll's house. However, a new expression can be developed, that gains a characteristic quality from the building's utilization, its scale and structure.

 

 

In the German fairytale Little Red Riding Hood and the Wolf, the wolf dresses up as the harmless grandmother, in order to catch and eat the little girl. Many people, not only in China, perceive modern architecture as the wolf. The attempt to make it appear like the friendly and adorable granny has failed and fails repeatedly.
The given task is to tame the wolf and change his character into a positive one.

 

词/曲/唱：钟志刚(小刚)  
 
寒星点点眨眼睛，月到中秋分外明，
站在水边望月亮，月亮下面是故乡。
月光揉在江水里，想起爷爷的声音，
今年天气冷得早，秋风清清扰我心。
月亮月亮我问你，今年你多大年纪？(明天我会在哪里？)
什么时候我已长大了，你却依然很平静。

故事一年又一年，思念一天又一天，
远方的人你是否，依然儿时的容颜。 

 

下载地址： http://www.nsp.com.cn/musicbar/ylbb.mp3