Zimbabwe In Crisis

Zimbabwe's new unity government is inheriting a lot of old problems. A devastating cholera outbreak has killed more than 3,000 people, hunger is widespread, and political issues remain unresolved despite months of negotiations. That's why the African Union must do everything it can in its official role as guarantor of the new unity government.

Add your name to the petition and ask the African Union to keep its promise to Zimbabwe's new government.

www.one.org

ONE is a campaign and advocacy organization backed by more than 2 million people from around the world and every walk of life who are committed to the fight against extreme poverty and preventable disease, particularly in Africa.

At ONE, we achieve change through advocacy. We hold world leaders accountable for the promises made to the poorest people, and we press these leaders to support better policies and more effective aid and trade reform. We also support greater democracy, accountability and transparency in developing countries so these resources can be effectively deployed.

Cofounded by Bono, Bobby Shriver and other campaigners, and supported by Bob Geldof and other high profile activists, ONE is nonpartisan and works with activists from the left, right and center to mobilize public opinion in support of effective, proven initiatives that are delivering results: protecting families from preventable diseases like AIDS and malaria, putting kids in school, providing economic opportunity and stabilizing communities. To help ensure the policies we advocate are effective, we seek advice from leading African anti-poverty campaigners and policy experts.

At ONE, we believe the fight against poverty is not about charity, but about justice and equality. We are honored to be part of a greater movement of people and organizations working to end poverty throughout the world.

Ghost Stories exhibition, New York

When couturier extraordinaire, Issey Mayake, set the XXIst Century Man design challenge in 2008, we had a feeling that the responses would catch our attention.

The brief, taken up by a selection of internationally renowned designers, was ‘to create an object that would convey how man lives in the 21st Century’. With Mayake’s environmental agenda directing proceedings, the resulting offerings had little margin for malfunction.

The Cabbage Chair (pictured above), from Tokyo-based design troupe Nendo, and constructed from recycled, sliced and folded rolls of paper was one of the most successful responses to Mr Mayake’s brief.

It comes as little surprise then that Nendo’s Cabbage Chairs have recently sprouted up in a rather different context. The latest exhibition at New York’s Friedman Benda Gallery - ‘Ghost Stories’ – sees forty of the billowing chairs take residence in an eerie lunar landscape constructed expressly for the show by Nendo.

The ‘constellation’ of chairs, (all in various shades of grey) dot the space amid thousands of achromatic strings, trailing from ceiling to floor - distorting and pixelating the synthetic backdrop of Nendo’s Martian vegetable patch.

Delicate and slightly weird, ‘Ghost Stories’ does much to affirm the growing stature and significance of eco-aware design. Originally cultivated in response to a brief routed in the woes of the world, the Friedman Benda’s latest show has shot Nendo’s startlingly simple Cabbage Chair into a new dimension – where, let’s face it, it clearly belongs.

It Took A Village

Styles old and very new, talents near and very far—all came together in this epic Malaysian house by Agence Jouin Manku.

Kuala Lumpur is one of the world's more surreal capitals. It's a hypermodern, high-tech Blade Runner-ish city of the future, its glittering skyline crowned by the arabesque spires of the Petronas Twin Towers. But KL, as locals call it, is also filled with reminders of Malaysia's multicultural past and its days as a British colonial outpost: old Chinese and Hindu temples, Malay mosques, and a cricket ground and neo-Tudor clubhouse marking what was once the center of town. It's all woven through with lush tropical jungle so thick it looks ready to envelop the city in a blanket of green. In fact, if not for continuous pruning, the vegetation would win.

This wild mélange of nature, architecture, and ethnic diversity is the backdrop for a futuristic yet traditional house that is as eclectic as KL itself. Parisian interior and product designer Patrick Jouin and partner Sanjit Manku, a Kenyan-born Canadian architect, designed the mammoth 32,000-square-foot residence and reception suites for three generations of a prominent Chinese-Malaysian family. (Jouin recently split his firm into two entities: Agence Jouin Manku, overseeing interiors and architecture commissions, and Patrick Jouin ID, focused on industrial design.) Commanding a nearly 1-acre hillside perch in a posh inner suburb, the house tries to minimize—visually and functionally—the impact of a program that's nothing short of gargantuan.

Grandparents, parents, and seven children ranging in age from 10 to 22 have the run of three floors comprising nine bedrooms, living and family areas, Western-style and open-air Chinese kitchens, an outdoor breakfast terrace, a formal library, a game room, and a swimming pool. A pair of guest suites is housed in a semidetached boomerang-shape wing that's cantilevered out over the hillside. Sweeping terraces, filled with gardens and shady spots for afternoon tea, surround the residence.

The banqueting and reception areas are equally expansive, since the family entertains on a grand scale: Small weddings take place in a sleek but spare chapel; for bigger nuptials, a wall of glass panels retracts for more guests. The adjoining ballroom can accommodate as many as 200 people for receptions that include a Chinese New Year's banquet each winter. Elaborate dinners, frequently for government and business VIPs, are held in the formal dining room, which seats up to 30. Among these three spaces are 13 bathrooms.

Separating the family's daily life from business goings-on was absolutely key. "It was important that the kids could run around in pajamas at the same time a meeting was being held," says Manku. He and Jouin cleverly tucked the reception spaces into the excavated hillside, keeping them out of sight at basement level while creating a huge, landscaped plinth on which the house sits. "That way, you're not looking through big, empty rooms every day," he says.

The house itself is a long, faceted three-part tube bent around the pool and ringed by ribbons of paved and planted terraces. Its open-plan ground floor, which contains the vast multilevel living, dining, and kitchen areas, is an irregular-shape pavilion enclosed in floor-to-ceiling glass. The glazed walls slide open to the pool on one side, to the sequestered breakfast terrace on the other. The library and family bedrooms occupy a two-story volume that appears to float above the transparent base. Thanks to massive cantilevers, the bedroom wings extend well beyond the ground floor footprint, creating deep, column-free overhangs for shaded outdoor living.

Each of the seven children's bedrooms is different, spatially and decoratively. Like its occupant, each bedroom has a distinct personality. "We made some more extroverted, taller, skinnier, some with more nooks for reading," Manku says. The grown-ups get suites, one a duplex with a sitting area and double-height glass walls open to skyline vistas.

Maintaining views while tempering the near-equatorial sun meant shading large expanses of glass. Where cantilevers and overhangs didn't provide protection, Jouin and Manku wrapped the upper levels of the house in a shimmery second skin of stainless-steel louvers that open and close electronically, revealing varying amounts of glazing. (Some of the bedrooms are enclosed with sliding louvered panels of chengal, a native wood.) Besides screening the interior, the delicate outer skin helps diminish the visual bulk of such a large volume. "The house was to appear very light, as if tethered to the ground like a balloon rather than crushing the earth," Jouin says.

Throughout the project, custom elements run the gamut from high-tech to rough-hewn. Jouin and Manku collaborated with local and international artists and craftsmen on many of them, including a massive kitchen island carved from a single hulk of Carrara marble; a circular stair with petal-shape teak treads, constructed by elderly woodworkers who put off retirement for this project; a sculptural freestanding Corian bar in the living area; 10-foot-tall teak lanterns hanging in the atrium linking the bedroom wings; and the stunning ballroom chandelier comprising 13,000 porcelain petals, produced by young French designer Roseline Pailheret and ceramists in her native Limoges, France. "We created a brand-new architecture for the house," continues Jouin. "New shapes, new ways of connecting spaces, and new combinations of cutting-edge technology and traditional local practices."

Designing and building the house was truly a global effort. Paris-based Jouin Manku was joined by a local architecture firm. The home base of the landscape team is Lugano, Switzerland. The lighting designers are from New York. Like KL itself, talent from the far corners of the earth shaped this thoroughly contemporary home that still respects history and tradition.

Project Team Yann Brossier; Richard Perron: Agence Jouin Manku. Ytl: Architect of Record, Structural Engineer, General Contractor. Officina del Paesaggio: Landscape Architect. L'observatoire International: Lighting Consultant. Product Sources from Front Paola Lenti: Chaise Longues (Terrace). Mobilia Italia: Sofas (Living Room). B&B Italia: Side Tables. Cassina: Armchairs (Living Room), Table (Kitchen). Laval: Custom Sofa, Chairs (Library). Jim Thompson: Sofa, Chair Fabric. Fritz Hansen: Egg Chairs. Throughout Swissprof: Metal Louvers (Exterior).

Trembled Blossoms

Trembled Blossoms - by Prada from Colmeia on Vimeo.

Miuccia Prada's work has always involved an intellectual and introspective approach, made apparent by her talent for reversing the rules with practced poise, her capacity for surprise which forces us to abandon habit, and hergift for infusing her work with thoughts linked to her day-to-day experences and observations of the environment.

Her approach disregards the search for consensus and the need to piease; there is often a provocative plan to go against expectations, almost to displease, and a knowing attempt to mislead, determinedly seeking out those aesthetic contrasts that have often been a feature of her inventive creativity.

With this radically innovative approach, intellectual style and versatile technique, Miuccia Prada rethinks a the aspects of the creative process, bestowing stylistic and formal dignity on traditionally neglected areas in order to achieve an effective fusion of elements in the final product.

SaY gOodbyE wIth ChiLdhoOd

与少年时的伙伴幽会。

暗夜的荒芜旷野中，在肆意生长的巨硕杂草间穿行。踏在新鲜的烂泥和陈旧的石块里，寻觅被时光忘却的角隅。倾泻而 下的星光在草间的缝隙中盈满，为脚边静静流淌的溪水染上夜的色彩。那些青草悄无声息地掠过手和脸庞，在肌肤上留下清凉的水滴。萦绕在身遭的飞虫，夏夜中精 灵一般的生物，天才地循着律动，狂哗舞蹈，却又随风四散飘荡而去。

可以轻易地辨识出这来自海面的季风，掺着曾被阳光浸染的腥咸味道。在草面上轻轻袭过，晕开乐层层涟漪。不经 风的催促，拔腿奔跑，眼中呈现烟灰墨般的印象画面，静止的，一帧帧地往前推进。时间仿佛停缓不前，那片隐秘的乐园正在轻唤。便在不远处，那个触手可及的美 丽记忆正被趋近真实。步履愈来愈快，眼中的画面跃动起来，愈渐流畅清晰，从绽放着一簇簇的白色小花的空旷泥地中望到乐那个久违乐的旋转木马。

忧伤，蓦然间无迹可寻。

沾有泥滓的旧跑鞋，红色的格子衬衣，以及耳机中溢出的帕格尼尼，它已无处遁形。恍若四年前搭乘在电车中清冷自负 的少年，同样的白色球鞋，格子衬衣，肩上破旧的帆布背包中拖出的巨大耳罩，里面流淌着同样的罗西尼变奏曲。电车穿行在喧闹繁华的城市中，窗外的楼宇渐渐变 成大片的青春草地和阳光下晶莹的湖水。从空寂陈旧的车站下车，触摸到的裤袋中的硬币，手中自动贩卖机出售的便装热奶茶，以及甬道中卖报纸的老头的麻木眼 神。哀伤，随处可寻。

沿着湖边的小路一直默默行走。那是一个阳光灿烂的下午，天空蔚蓝。清澈湖水与碧绿的草地交织成美好的景致。 他望到那些面容安详的垂钓老人，坐在草地上相互依偎的恋人，与被带来野足四处奔跑的幸福孩子，画面如此温暖。少年动容，感受到自己背上无法飞翔的羽翼，好 似肩负的沉重疼痛，眼中盈满乐泪水。

他依稀记得幼年时的梦境。在一片静谧的海面上漂浮的巨大邮船，上面空无一人。他独自骑着脚踏车欢快地飞驰在 甲板上，肆意歌唱。海平面上望不到一块陆地，斜阳渐渐湮没在远方弧型的天际线，天空和海水被霞光映衬的一片温情，云彩被染成绚烂的锦缎。船头亮起乐华丽的 琉璃吊灯，五颜六色的盘子上盛满乐各种美好食物，更有他最为喜爱的巧克力和鲜奶蛋糕......

这是回荡于他生命的安魂曲。是一个尤其遥远的幻境，又是心底无法遗忘的残败花朵。

少年这样想着，却看到乐那个被废弃乐的旋转木马，在一片被高大的青草围绕的空旷泥地中。仿佛一个隐秘的乐园，安 静，鲜人知晓。召唤着少年内心被久久掩埋乐的幸福希求。这个锈迹斑斑的童贞玩具，没有漂亮的华盖，并不装备复杂的机动部件，简陋得令人心生恻隐。而转动起 来发出轻轻的吱吱声响，却象指间不经意弹奏出的曼妙旋律。少年喜不自禁，他们邂逅在这恍若世外的空寂旷野，无疑成为一种美好的机缘。这也许是这座城市留给 少年的最好礼物。

当幸福的希翼被烧毁为灰烬随风而逝，我们还能够来冀望些什么呢？

夜幕下的旋转木马依旧残破，锈蚀的金属躯干在星空下泛不出丝毫光泽。但是，它依旧能够旋转。從上面仰望星空，那是能够吸纳一切黑暗的旋涡，并不存有尽头。那眼眸中旋转的星空，耳中缭绕的帕格尼尼，还有在草地里闻到的海水味道，如此时刻，仿佛又至梦境。

Hilton Hotels Launches New Global Brand

Each Denizen Hotel will feature smart technology, rejuvenation hubs, and restaurants geared toward communal interaction.

What recession? Sure, certain design markets are slowing these days, but hospitality is not one. Launching today in Berlin, Hilton Hotels Corporation welcomes a new brand to the Hilton Family of Brands called Denizen Hotels. The label, which is touted as a global lifestyle line, will appear in the world’s most prevalent urban environments and cater to globally-conscious modern travelers.

The new Denizen label proposes a pleasurable environment suitable for business travel or personal getaway. Each hotel will feature smart technology, relaxation and rejuvenation hubs, and restaurants geared toward communal interaction. Harnessing the best in contemporary design, Hilton has secured top designers like Hall of Famers David Rockwell and Clodagh to shape in the look and feel of the Denizen collection.

“The term denizen literally means ‘citizen of the world,’” said Ross Klein, global head of Hilton’s Luxury & Lifestyle Brands division. “We created this new brand in homage to guests who desire and deserve the best hotel experiences, both on an emotional and functional level.”

Hilton launched Denizen Hotels at the International Hotel Investment Forum in Berlin with a pre-constructed vision of the brand experience by way of a shipping container. The preview allowed visitors to walk in and experience the space, which embodies the eclecticism and global design language of the label combined with the green thread of sustainability.

Plans for Denizen Hotel development are currently underway in Abu Dhabi, Austin, Beverly Hills, Buenos Aires, Cancun, Hollywood, Istanbul, Jerusalem, Las Vegas, London, Los Cabos, Miami, Montreal, Mumbai, New York City, Panama City, and Washington D.C.

EnChantED doLL

Artist Bio

Making dolls has been the most constant aspect of her life since she was six years old. Bio believe that she was born to do this.

Bio was born in the South-Western Siberia, Russia in 1982 and fourteen years later immigrated to Vancouver, Canada along with her immediate family: Mom, dad and two younger sisters. Here, she graduated from High School in 2001 and then from Emily Carr Institute of Art and Design in 2006 with a Bachelor of Fine Art.

The artist fiercely resented the institution for the first couple of years into her degree and to this day still harbor residual disappointment and bitterness towards the program, which she feel didn’t teach her enough. Despite its shortcomings however, she is able to appreciate its contemporary approach to art education, as it was crucially instrumental in the development of critical thought and conceptual aspects of her creative process. Because she felt that ECIAD wasn’t teaching much of anything other than abstract theories and thought development without any applicable and concrete, professional skills, she decided to take some independent jewelry courses on the side to apply that knowledge to her doll art practice. It turns out she love learning, because ever since then she try to take at least one jewelry course a year to learn something new and broaden her horizons. Bio believe that the secret to beautiful and engaging artwork is looking outside of a particular medium for inspiration and bringing other aspects into it. The reason that there are so many ugly and boring dolls out there is because people who make them look to other dolls for inspiration and continue to regurgitate what they see, thus making the same doll over and over and over again.

Creating a visual narrative is the most intriguing way of articulating my ideas and a doll is a perfect medium because of its potential for such visual story. Bio's strong tendency for escapism has made the make belief narrative of fairy tales very appealing as a context for my dolls. What interests she most about fairy tales is the implicit and often explicit violence that lies just beneath the surface of the magic.

Zero

午夜零點，他看到錶盤上的指針曡合成一條直綫。這是一天

之中最爲無與倫比的時刻，昨日終結，次日伊始。一切清零，記憶由此重新蓄積。時間，猶如踏上遠征的戰士，徐徐向前，從無退卻。征程漫漫，漸漸在内心中褪逝樂遙遠家鄉的記憶。腳印伴隨踏爛的遍地桃花，與那些戰火燃燒后漫天飄蕩的灰燼與硝煙。一座座曾懷有幸福夢想的玻璃城堡被輕易攻略，在槍砲肆虐下變成冰冷碎裂的殘骸。

當戰火遙遠，是否會新花待開？

零點零分零秒，新一天開始。每當經歷這個時刻，我總是感 到自己又喚來一次重生。有些人用睡眠來隔離昨日與今日。對他們來説，這個鐘點只在特定的時刻才被賦予一種象徵性的意義。而我不同。我渴望在意識清醒下看到一日結束與開始時的自己。這是見證自己尚且存活未死的一種有效方式。所以，我從來未曾在此刻喝醉。而下一秒，卻難説的很。女孩說完，面龐隨之嫣然。

他坐在河邊的一家燈光晦澀的酒吧中。夜幕在遠處高樓背後 隱隱滲出微藍的光，映射在緩緩流淌的河面上點點斑斕。風中彌漫着名為lolita的輕緩圓潤的曲子。這使他回想起在香港的左敦道上邂逅的一家同樣名為lolita的藍調酒吧。他曾在此同樣的時刻光顧那傢暖色係的酒吧，那裏邀請一支著名的藍調樂隊現場助興，有時也即興演奏一些節奏舒緩的老牌舞曲。酒吧中有環形蜿蜒的水池穿梭在各個座位旁，混合着曖昧燈光的池水自天花板上傾瀉而下的晶瑩水幕流開。熏醉的女子們挽起裙子坐在池邊，將雙腿蕩漾在溫暖的池水中，手持鬱金香型的高腳杯微微仰頭品着香檳，姿態嫵媚動人。

那的確是值得留戀的境地，好似鑲着五彩光暈的夢幻迷宮， 不知不覺閒挽留住時間。那是能夠令人遺忘掉一切的光景，而那樣的遺忘，本身卻又成爲記憶的一部分。這是如此奇妙的發生，猶如此時，與你交談，令我獲得忘卻的釋放，而你卻又成爲一種新的填補，對於那些遺失掉記憶的空缺。

他點燃煙，任女孩說完，才緩緩出聲。那麽等到明天的零點 ，待你再次重生的時候，卻又不知將會是什麽事物來成爲我的填補。這是記憶的輪回，沒有什麽東西是不可被取締的。有些看似恒久的東西，只因一直身處溫故。而恰恰是如此看似堅實穩固的記憶，卻常常被自我顛覆。並且從持守的基奠開始摧毀，令整座大廈轟然崩塌，無法修繕。而原始的真相，不過是無法忍受隨時閒漸漸淪爲的陳舊，而來尋覓新的延承。人，便是如此矛盾，一面追求恒久不渝，一面又喜新厭舊。

卻也有那些慾忘而不得的記憶，如帶刺的毒蔓在内心漫漫生 長，那些刺破的傷口被荼毒潰爛，隨時閒漸漸成爲永遠的夢魘。小的時候，傢中經營一家規模頗小的餐館。一日，父親從日本請來他的朋友，一位技藝超群的廚師來烹製河豚。那是我有生之年從未品嘗到的鮮味。飯後，我悄悄溜進廚房，看到那個日本廚師的包囊旁擱着一個極為精致的鏤花錦盒，上面還鎖樂一把漂亮的小鎖。我猜想那是盛放庖解河豚刀具的盒子。我曾看到那位廚師製作河豚的經過，那些刀做工精細，模樣可人，我十分歡喜。於是便拿廚房的菜刀企圖撬開那鎖來取刀具玩耍。哪知那個日本人正巧進來，見到如此光景，滿臉驚懼，大聲喝阻。父親聞聲而來，亦大發雷霆，用力抽打我，喝令我從此不得再進廚房。我哭泣不解，後來得知，那個盒中所裝的並非精致刀具，而是河豚屍體内的肝臟與卵巢，那是劇毒之物，不需半毫克便可致人死地。自那以後，我見到盒子便會感到恐懼，一直至今。

他望着女孩，那眼眸中深藏一汪澄靜的水，像身旁的河，似 有微波流淌。在黑幕深處，蘊着湛藍的光。她像極樂那來自黑暗叢林中的精靈，擁有燦爛的蕎麥膚色。柔美自露在外面的漂亮肩膀傾瀉而出。頸項旁俏麗分明的鎖骨有着足以令男人臣服的形狀。他瞻服于她的身體，視線經過相隔着桌面上的玻璃酒瓶與煙缸。那些玲瓏剔透的器皿上鑲映的光華襯托她未施粉黛的美麗臉龐，令他想起雪山深處的幽暗叢林中，那片揮灑樂五彩斑斕的光暈的草地上的嬌艷花朵。他頓然覺得這是造物主的恩賜。

在你看我的眼神中，攜帶着濃郁的憂傷。你的内心盛滿記憶 ，即便經歷時光的侵蝕與磨損，也會殘留下被風化的沙礫。長久以來，它們摩挲你的血肉，疼痛之後，令你愈漸堅實。你被過去禁錮，好似你並不存活于這個現實世界。

這是每個人所必需經歷的原罪，猶如亞當遺留下的惡根。我 同樣可以感覺到，你所承受的恐懼，遠遠不只年幼時遭遇的那個裝有河豚器官的精致錦盒。你的内心深處隱匿樂多少久遠之前的傷痛？它們被緊緊包裹，從不示于人前。當被剝除外殼的時候，遭遇錐心的痛楚。過後，卻可煥然超脫。好似自縛的蟬蛹，破繭后，便能夠重生。

這樣的話，可以被視爲一種鼓勵。我在晝夜交替閒輪回心中 的承載，這是在保護自己，竭力將一切有可能傷害到自己的事物隔離身外。我歡喜零這個數字，它代表一切重新開始，未來未知，命運仍舊操于自己之手。我時常在心中默默念數，0,1,2,3...數字到達某种境地，被回歸原始，再一次從零開始數。我無法得知，當我終老死去的時候，會念到幾。她用中指在威士忌杯上觸著杯口繞樂一個圈，從一個點始，又在原點倏忽停止，仿佛時鐘上的指針周遊一圈。她擧起杯喝干裏面的純芝華士，說，對不起，我不能夠在一張桌子上待過久，我需要照顧其他的客人。失陪一下，不介意？

他報以寬容微笑。女孩起身而去，背影模糊在闌珊燈火中。 她是這閒酒吧的兼職侍應生。

他巡視身遭，那些黑色的鑄鐵座椅上坐滿樂來自世界各處不 同種族血統的白領人士。男士們穿乾淨的白色襯衣與黑色皮鞋，他們解下領帶，鬆開頸項上的第一粒扣子，瀟灑談笑。女士們則穿各種素色的名貴套裝，她們姿態更爲隨意，將上衣的西裝外套搭在椅子的扶手上，露出裏面綿質的襯衣。這是城市中最爲精英的階層。他們的生活嚴格按照事先的企划，絕無逾越。在固定的時間起床入睡，長時間忙碌于自己的專業領域，選擇周末的晚上來這條河邊的酒吧喝酒閒談，拜天的早上去固定的教堂做禮拜。他們大多喝喜力啤酒，那是助興的酒，絕不至爛醉。他們竭力在尺度下保持自己的意識清醒，這樣可以更爲有條不紊地遵循自己生活軌跡。他們共同的信念便是效率，他們是掌控時間的高手，盡力在有限的時間下創造巨大的財富與生産力。他們在河的另一頭的那些高樓大廈中工作，那是這個城市的金融核心。從那些明亮寬敞的辦公室的落地窗中，可以俯瞰到下方街道上如螻蟻般的行人。他們的目標明晰，那是永無止盡的攀登。

我曾在走在那些金融大道上擡頭仰望那些銀行與債券公司百 樓之上的窗戶，從下面向上望，那裏同樣渺小。那些鑲嵌在巨型積木中方方正正的格子空間，也許並不能成爲精致生活的彰顯。他對重新坐在對面的女孩說。她的臉上泛開紅暈，已經略顯醉意。

有些人拿時間來遺忘與感傷，另一些人則用時間來不斷囤積 ，創造財富。在世俗的眼中，自然是後者更爲功成名就。但是，你顯然有一半的靈魂游離于這個世間與時代之外。那是令人無法揣度的一半，也許是你自己也無法捉摸的一半。秋天樹梢的落葉飄零至地只需短暫的距離，而輕風襲來，便不能預知它最終將落于何處。心中存有太多浪漫的幻想，會令人生顛沛流離，坎坷難行。而大多時候，那些幻想便如風，迅即而來，卻又倏忽而逝。它們令人搖擺不定，難以踏實。也許將來某日，你也會變成他們，身著體面的衣服在工作之餘光顧這裡，再也不會喝醉。那都是無關緊要的事情，只需謹記，永遠都需在内心中留下一片與時間溫存的空間。女孩說完，將手貼在他的心臟部位，閉上眼睛。

隔壁的酒吧的幾個大男孩，穿着嬉皮士的裝扮，沖這裡大聲 喊女孩的名字，齊聲說“我愛你。”他們正在唱一首臺灣的歌曲，這是歌中的橋段部分。

看來你很受歡迎。他笑。

她沖那些男孩子舉樂舉酒杯。經常有年輕的客人如此捉弄我 ，早已習以爲常。我並不同于那些生活在親人僻護下的孩子，他們感受到恩澤卻並不自知。那對于我卻是難以企望的幸福。我孑然來到這個陌生冰冷的城市求學，為樂獨自供給念書的費用，不得不在晚上來酒吧做女招待。在曖昧燈火下穿著性感地游走在那些喝樂酒的男性客人桌前，這並不是原本設想的生活，卻成爲一種真實的依賴。我對每位客人報以笑容，卻不曾有過朋友。我在學校十分刻苦，將教授講的每一句話記錄在本子上，課后獨自研讀。那是我來此的目的。說到此，她給自己斟樂半杯，仰起頭一口喝干。

他並未插話，也無勸阻，只是靜靜聼她繼續。

我自小學習如何來變得堅強，十六嵗的時候，我去整形醫院 用石英燈將自己曬成如今的膚色。遭到全家人的責駡，那對一個女孩子無疑需要巨大的勇氣，而我不過是想令自己看起來更爲剛毅。我與他們學直排輪與滑板。在肉體上留下一個又一個鮮血淋漓的傷口，然後看着它們慢慢腐爛，時間將它們褪成醜陋的印記。以此來提醒自己並不曾害怕疼痛。我從來不化妝，我清楚自己的容貌早已不需仰賴那些惡俗的妝容。化妝令我對自己感到陌生，我曾在夜裏無燈的房間看到鏡中自己化樂妝的臉，仿佛街頭用討好換取吝嗇施捨的乞者。那樣的恐懼如同被黑洞吞噬，不知身處何處。

她繼續一杯接一杯的豪飲，醉態開始昭然。你到底試圖得到 什麽？他問。

那是久遠前的夢想，一直植于内心，從未枯萎。我想去瑞士 攻讀酒店管理的學位。去盧塞恩，去看遄流見底的溪水，湛藍如鏡的湖面，挺拔幽深的杉林和雄偉聖潔的雪山。那是一個令人無比心馳神往的地方。自然與城郭相處和諧，如同一首曼妙的詩歌。路過儸伊斯河畔枕水而建的卡貝爾橋，來到聖·彼得教堂，那廣場上遍地是燦爛奪目的天竺葵花。還有那碧波粼粼的四州湖，湖畔靜謐中沉睡着八百年歷史的聯邦政府，可以在木樓前的草地上品嘗三明治和烤魚．．．她將頭枕在手上，瞧向夜空，面容含笑，眼中卻汎着晶瑩淚光。

這是跳脫于時間與空間的遙想。這來自内心深處的強大渴望 ，漸漸變成一種仿佛與生而來的記憶存活腦中。這是她的靈魂皈依，是她的信仰，以及賴以倚靠的強大支撐。將來的某一日，當她達成心願的時候，她會以此來悼念曾經所經歷的不堪。那些留存在心中的傷痛記憶便被毅然棄絕，取而代之以一種完滿。而在此之前，她必須獨自承受為夢想而償付的代價。

他望着已有不適的女孩，這是如此令他動容的女子。他用手 輕輕撫摸她的頭髮，他在矜持地表露對她的憐惜。女孩踉蹌起身，隨而仆倒在他的懷裏。她在他的耳邊輕聲說，請帶我去洗手間，這裡時常會有警察巡查，我持學生証，必須離開。

他攙扶她進入破舊骯髒的廁所隔閒。她竭力抓着他的手臂不 鬆開。他只得關上門，幫她褪去下身的衣物。她嘔吐在破敗的牆壁上，那些污穢物來自身體的内核，帶着腐敗酸蝕的氣味。他望到她帶着禁忌的私処，這是肉體上撕碎樂所有尊嚴的本相。於是緊閉上雙目，内心遭遇痛楚。她緊緊抱住他的腰，將頭貼在他胸上劇烈哽咽。他俯身親吻她被淚水濕潤樂的臉頰，在她的耳邊輕輕喚着她的名字，說，我送你回家，我們回家。

從車窗中迅速向後退逝的風景，漸漸在眼眸中縮成一幀幀迷 離的光影。仿佛經歷的歲月，在時間匆匆遷移的時候，恍然身後，離自己愈來愈遠。記憶在左，夢想在右。當夢想成爲記憶的須臾，我們是否也已變得蒼老？

他送她至三十樓的公寓，那裏有長長的露天走廊。她踉蹌着 牽着他的手來到那裏，眺望到那條燈火輝煌的河流。整座城市璀璨繽紛，與天幕中的點點繁星交織輝映，那條河便成樂自天上緩緩垂下的金帶。風，自遠處襲來，吹動女孩的烏黑長髮。她將身子倚靠在他的懷中，輕聲說，若是這個時候睡着，便看不到這樣的美好景致樂。

景色並不會蒼老。但是生活又要開始重新念數？

她笑，0,1,2,3...

9 Crimes

壹

【混沌世界】

時間，終究是無法抵抗的毒藥。

身體隨著歲月流深變得漸漸怯懦，靈魂該附著在哪里？

試圖尋找突破，卻不曉得往哪里走。

成千上万的门径，它们开启通往不同的道路。

曲折艰辛，也许永无穷尽，永远不能够抵达。

攀爬上升，行走渐远。从出生到死去，我们紧攥手中的，不过一张单程票。

所在的世界，飞跃著繚亂雙眼的丰满色彩与熙攘人心的紛繁聲響。

我經受乐蠱惑，而難以自持。

想看看每条道路上的繁华景致，最终或许迂回而行，老死中途。

一直如此筹措犹豫，恍惚不定间，信仰犹如倾覆而毁的基厦。

失去乐太多，我只设定乐一个底线。

貳

【玻璃城】

家，是不愿觸碰的底線。

無論走樂多少路，去到多么遠。我的心底始終埋著一座城。

回国，短暂的休歇。仿佛一场纸醉金迷的幻觉，并不真切。

寒冬，夜深，从朋友的名贵跑车上下来。我只想好好走一走自己的城市。

独自行走。夜晚的小巷，风势凛冽，身上的衣服单薄，却并不感到寒冷。

我唤回乐沉和，小心聆听这座城的脉搏与呼吸。经过的大街，小巷，深寂无人。

它们并不曾改变，乃至更动一些细节，那些路灯，砖瓦以及过城河边的铸铁座椅。

这个江南城市，它并未曾改变。

但是，却蓦然发现，自己在这里已经无从归属。

只留下一个无从撇去的心结。

叁

【少年結】

能夠既往不咎的，卻始終無法棄絕。

清早時辰，行走去往學院。耳機中播著十年前的日本电子舞曲，安室。

少年时中意的音樂，如今依舊娓娓動聽，保存著雀躍身體的能量。

那个十四岁白衣少年，仿佛又悠然在心。

那个穿着白色球鞋肆无忌惮地奔驰在青春草地上的身影。

我嫉妒十四岁时的自己，能够携着桀骜不驯的灵魂漫无目的地游走。

那样混合着阳光，哀伤，疼痛与激烈的心绪。

回忆，就是这样一种逆流时光的趋向。

几远，几近。

仿佛一段被臆想的青春历史。

肆

【空想家】

生命，被虛構。

矗立在街頭，仰起臉，閉上雙目，呼吸。整個世界安靜下來。

這是我的國度，被完全的狂想與編撰。

仿佛幼年时欢喜读的童话与科幻故事。

成为一个彻头彻尾的空想家，企望主宰与修改荒谬的现实。

一场伟大的精神的革命，所牵涉的一切行为的停滞。

这是无法篡改的天性的缺陷。

像一艘盛载繁花的大船，孤行海上，找不到现实来停泊。

这样流徙的魂魄，本是一生流放的刑罚。

伍

【徙流】

我因我的罪而受樂審判。

不可以承受的静止，一旦某种念头被停歇，灵魂即死。

无论是在火车，或者飞机，或者船舶，哪怕步行。

必须保持不断行走或者运作的姿态。

看得到身遭的景物，人，事的运动和变更，内心才能获得安定。

即便如此，思维依旧无法静止，一分一刻也不行。

否则便会出现生命已经逝去或不存在的假象。

停顿，便如窒息。并不认为是一种光荣死去的方式。

因为感受到时间的奋然流转，生命是一段有限的行程。

即使在夜晚，依旧迟迟不肯睡去。

陸

【守夜者】

夜晚，并非生命的驿站。

有過這樣久，夜深回家，身體傾倒在床上，化成樂一灘水，四處飛濺流淌。

很累，但是無法入眠，对于一些人，本性便是抗拒入睡的。

倘若并无外出，只是呆在房中，读书，音乐，看牒，一根接一根地抽烟。

又或者写字，工作，冥想，干什么都好，只是不想睡。

睡眠有时让我感到不安全，无论思维或者肢体都不受控制及驱使。

意识也无法清朗，不再保持慎重与缜密。

尤其对欲望的吞噬与倾吐。

柒

【吞噬蛇】

無法抉擇，什么都想要。

不愿意放弃任何东西。

每日每夜，流经脑海的巨量的比特。

我看到的世界有多大，我的内心能够企及多高多远？

一直试图保持内心的洁净，不遭尘染。

欲望是囚笼，再也不得自由。

我们不再是清冷而充满野欲的少年，一心想要离开家乡，闯荡世界。

我们看到乐至高的生活追求，和顶端的精神力量。

但是，只能朝一个方向走。只能是一个。

可是，到底是哪一个？

L，患上樂現實癥與理想病，何處能夠尋到解藥？

捌

【現實症】

殘缺，而非和悅。

未来，倘若并非未知，我们能够做些什么？

能够被瞭望的彼岸，本就严酷的路程更变得乏味而多余。

不能够明晰太多，对于这个世界。

否则，便愈加感受到自己的无能为力。

玖

【理想病】

夢，是致命的癌。

希望，若非真與死亡共存？

不想再说什么，这是理想病，无药可治。

Asymptote

话题依旧有关毕业的最终企划案——新加坡的PRADA旗舰店设计案。这是在学院中表达自己理念的最后机会。半年的时间来全力攻克一个虚拟训练的终极任务，时 间过半，概念与方向终于在脑中被定稿。工作进度在确定乐施工地点，空间范围，功能配置等基础事项后，终于提升至一个稳步渐进的阶段。在此做一个备忘，也是 对设计进程的一个记录。很多人认为搞设计是一种被技术化的艺术。其实，设计更体现为一种理论性与逻辑性。由概念的出发点衍生出的关键词，被具体与合理化。 需要解答的问题不仅限制在概念在空间上的体现，概念与品牌的衔接，空间对品牌的展示上，最重要的，是对受众的本位思考。

即使美感与创意是一个成功的 设计的生存必然。然而，设计并不是纯艺术。并不是追逐单纯的美感与感性品位，它是一套严谨而理性的法则。而设计师正是制定这一全套法则的人。为一个商业品 牌做空间设计，需要平衡商家与顾客的需要，这是一个需要深邃思考的课题，是设计案中贯穿始终的一个重要因素。从概念的出发，到方案的制定，一直到最后的成 品。

建筑与空间设计，由于其工程类别的特殊性，使得设计师在工作中历经的步骤繁多，它们有其规范的序列，是一套极端严肃的科学。计算与实验，推翻，重建，再被推翻，一直被最终认可。

方法论，是所有设计师需要掌握的钥匙。我的概念的生成路径或许可以成为一个抛砖引玉的简例。某些段落英文陈述，因为我会用在设计报告中被呈交。

在选题的时候，我经历乐一番抉 择。其实，我是乐于设计新住宅空间与办公空间，但是这些空间在功能上并不能突出展示设计。于是我想到来设计博物馆或图书馆，又始终觉得无法把握。出于对时 尚的喜好，我决定来设计一家规模巨大的时装店。在众多时尚品牌中，我一直对意大利服饰情有独钟，于是我在脑中翻乐一遍意大利的成衣时尚品牌，GUCCI高 调耀眼，FENDI奢华古典，GIORGIO ARMANI诚实稳重，D&G张扬浮华，VERSACE诡异莫测。我始终最喜爱PRADA。

我开始悉心研究PRADA的 时尚成衣与单品，反复揣摩这个品牌的历史与文化。MIUCCIA PRADA的作品总是包含着智慧及深思熟虑的探索，这从她颠覆常规的设计天赋，她促使我们挑战传统的，带来惊喜不断的能力，以及将从生活和环境的观察中品 味出的意念融入到作品中的才华，便一目了然。

PRADA不追求常理的认同和刻意的愉悦，相反总是试图挑战和反叛固有教条，甚至几乎是反愉悦的，试图引导并探索一种通常表现乐她的创意风格的对比的美学原则。我喜欢这种激进创新的探索，睿智的风格和丰富的技术手段。

以此，我对概念的培养生成为几个关键词：

Variety, variety among stores. "shops should not be identical."

Variety, a variety of spaces within a store. "Prada can be big in small spaces. Nike can only be big in large spaces."

Exclusivity, "space is a marketing tool." a brand can convey a sense of exclusivity "by the perception of its store in the host city."

Changeability, "60% of a business identity remains constant while 40% changes continually."

Service, maintaining the intimacy of a small company.

Non-commercial, the introduction of non-commercial typologies. "cultural events could be hosted in stores." "activities other than shopping could take place after store hours."

作为基本的出发点，我将思维衍生至奢侈品的定位上：

在整个世界都在不断的购物当中，Mcdonalds，7-11，Wal-mart...购物是一切。那么，什么是奢侈？

奢侈不是购物。

LUXURY= attention, "rough", intelligence, "waste", stability.

Attention,

as the noise level increases (see times square), the demands on our nervous systems - to differentiate, to decide, to shop accelerate.

the ultimate luxury is focus and clarity.

museums are popular, not for their content, but for their lack of content: you go, you look, you leave. no decisions, no pressure.

our ambition is to capture attention and then, once we have it, to hand it back to the consumer.

Rough,

the smooth and the "rough"

if everywhere is smooth, art becomes that which maintains a quality of roughness.

common is smooth, unique is rough.

recorded is smooth, live is rough.

commercial is smmoth, art is rough.

typical is smooth, invention is rough.

in this future, luxury must be rough.

Intelligence,

As the brand expands, the danger is that we capitalize on the prada name by applying it to products without improving them - takingwithout giving in return.

Applying intelligence to an object - intelligent choices that reflect the values of the designer - is the only way to pull ahead of the general onslaught of quality in manufacturing. intelligence is an altruistic gesture of adding value to an object (so that the followers have something new to copy?).

Intelligence often takes the form of innovation - improving things - but doesn't need to. it can also mean making good decisions about what should be saved, and what should be made obsolete. there is no generosity without intelligence. and luxury is generosity.

Waste,

In a real estate context where every square meter counts, the ultimate luxury is waste space. space that is not "productive" - not shopping - affords contemplation, privacy, mobility, and luxury.

Stablility,

massive change makes stability exciting.

In order to incorporate stability into a system of continuous innovation, adopt a model of dynamic equilibrium, maximizing both dimensions to realize paredoxical ambitions.

the more stable the brand, the more you change.

以此催生出的基本概念就是：震中。

EPICENTER, the point on the earth's surface vertically above the focus of an earth quake.

由EPICENTER，推出四个基本关键词：collapse, discorder, subvert, regeneration.

塌陷-混乱-颠覆-重生。

由此，方法与路线被确定，以下工作便进入更加切实的规划与整理工作。以概念来链接到具体的平面及空间中，从基础的形态，色彩，灯光与材质出 发。由此便只能用设计语言来表现。期间的其他研究工作包括对全球其他PRADA旗舰店的位置，面积，功能划分，人群等各项数值的分析与对照，新材料与新技 术的发布等等，在同时进行中。使得最终的设计企划更具说服力与优越性。