• 刚到北京的时候,在旅馆放下行李,洗过澡,和锐弟去快餐厅吃晚饭。餐厅里播着一些老掉牙的歌。然而我听着却好像变成了十分怀旧的歌曲,竟然觉得多少有些伤感。就好象披头士的那些老掉牙的歌,直至现在仍然在被无数人听着,成为怀旧的经典。多少有些相似。听了一会我失落地问坐我面前神清气爽的锐弟,这首歌是哪首。他说是伍佰的,成名曲。

    回国的中途在阿姆斯特丹转机,在排队等待登机的时候,碰巧是二战纪念日的默哀时刻。南航的空乘人员还贴心地用中文广播提示同胞们等一下是二战默哀大家不要喧哗。于是好像从十分遥远的地方飘来的弦乐缓缓响起。大家都停止了动作,开始默默的两分钟。那弦乐也是带着怀旧的沉甸甸的伤感。不过我心里却觉得好笑,因为对二战毫无记忆与感情,竟有种“被默哀”的感觉。

    在回瑞典的客机上我还是一个人,坐在中间靠近走道的座位。旁边两个座位都是空的。走道另一边的座位也空着,靠窗坐着一个看起来十分年轻的长相像荷兰人的金发男。用电脑看黑天鹅看到中间没电了电源插座又在托运行李里。座位靠背的视听屏幕里面都是十分难堪的电影,点了好几部没看几分钟就放弃。后来点着点着竟然不动了。于是我只好坐到荷兰人旁边。原来不是荷兰人,是要飞回斯图加特的德国人,刚从杭州出差回来。于是我就跟他大肆抱怨瑞典的饮食文化几乎为零而意大利威尼斯的小三明治却有五十多种以及南航客机上的餐食有多么难吃。他点头同意,说以后也会避免乘坐南航了。

    在北京的几天基本就是在考场以及考场附近的如家来回往复。考场在北京南三环。以前几乎没有来过北京的南部,这次发现是真的很糟。方圆两公里以内没有可以忍受的干净的快餐厅,没有大型超市,没有书店。几乎什么都没有。后来唯一的安慰是在旁边的假日酒店里面发现了一个叫面面全的餐厅,味道算是相当高级。在我那种紧张状态下居然还能激起我的食欲的高级味道。十二元一碗的例汤里面几乎没有固体物只飘着几片菜叶也绝不让人生气的高级味道。主菜基本都是粤式风味,也十分合我胃口。有一次点了腊味煲饭,结果相当地道,也完全不油腻。就连餐具设计也相当出色,后来和LZ一起去吃的时候,我们花了很多时间讨论如何把盐瓶放到袋子里带出餐厅而不被发现。当然是开的玩笑,但是那盐瓶的确非常讨人喜欢,纯白色的陶瓷质地,基本呈现圆形,只在顶端开了一个小孔。最后一餐和XY及其bf一起四个人吃的时候,XY点了家乡陕西的面食,竟然也赞不绝口。看来那餐厅真是无可挑剔,让人心服口服。

    考试的过程当然十分折磨人,途中我喝了至少三瓶红牛,几瓶咖啡。红牛这东西我以前是完全没有喝过。不过我也就那样坚持下来了,报名的都考了,作图的也都画了,带着时差还没调过来的晕眩感。而且考下来竟然比我预想的要顺利一些。至少觉得考的八门都有机会过。不过至于最后结果如何,也要看上天给不给机会了。考完看建筑论坛上无数建筑师们讨论大作图方案,也是很好笑。“日”字型、“目”字型方案层出不穷,也有“口”字型等非主流方案,甚至中途还跑出来“囧”字型,让人十分欢乐。然后主要围绕办公部分能否西晒还是应该集中安排在北侧而争论不休,也有人对“1+1”的房间数表达方式感到疑惑或者愤怒。我的方案是“目”字型,办公集中安排在北侧,“1+1”中途曾经让我犹豫了一下在阅览室中间画了一根墙线,不过后来很快又刮掉了。最大的收获是在考试过程中我真的练就了超高的在硫酸纸上刮图的精湛技巧,不晓得为什么以前在清华的五年就是没有体会到这技巧其中的奥妙。

    A1图版和丁字尺放在DH宿舍之后,隔天又回到了安静但是充满日光的瑞典王国。住处庭院里竟然也开了满树的花。


  • 早上跳完慢三

    下微雨

    飞速骑车 重摔一跤 摔到后面的人哇哇声声

    双手掌 膝盖 侧脸 先后着地 (至少翻了一个跟斗)

    破皮五处 但万幸感觉摔得最重的脸竟然没有毁容。。。

    左手掌包了纱布 但是还是要画CAD图(竟然押韵)

     

     

    btw 推荐新歌 陈奕迅 玛利奥派对

    一首可以跳恰恰的歌哇。

  • 古巨基 《MOMENTS》

    总体而言还不错 毕竟花了一年

    但是显然远远不及去年的《我生》了。可能那张实在是太好了。一直是我的最爱最爱。

    此专辑中,你生、蛮不讲理、为何、赏心乐事 这几首比较好。

    才知道他已经过了三十五岁的生日了。真的真的,很快就会过去了。

     

    张敬轩 《酷爱》

    主打《酷爱》是很好很好了,出单曲的时候就听过,应该也有大卖吧。总之很好的一首歌了。

    专辑最后一首《放榜》也超赞的。算是轻快的快歌吧,很适合考生的一首歌,又励志又好听。特别是最后那句“现实是我输了就输了”、“日后在那高处会心笑”。让被GRE和IBt虐过的我听了十分共鸣啊。这首前面和结尾的英文rap也不错,不知道是谁的但肯定不是张敬轩自己rap的。哈哈

    其他歌就都还一般了。


    张继聪《Kidult》

    知道这个歌手是因为他的那首《k型》,很不错的很适合在路上在车上听的歌。他貌似很喜欢创作,今年4月的新专辑《Kidult》大部分的歌都是作词作曲编曲监制都是他一个人搞定。服了。

    同时,他也是个最为本土化的歌手,不只只唱广东歌,连歌词都尽量本土化。看看新专辑的几个歌名就知道了:《爱你你咪理》(爱你你不理)、《宁愿晏D训》(宁愿晚点睡)、《大细路》(大小孩,就是Kidult吧)。歌词也一般都是这样:

    你咪笑我 這個歲數 也愛吃奶凍
    我有我素 咪當冇腦 道行別有一套
    哪怕我髮線永遠倒流
    肚腩漲爆咪當我流 仍然
    喜愛選購 漆皮風褸~~

    不过这个专辑的歌都还不错啦。比较推荐《四小强》、《宁愿晏D训》。后者的第一句那尾音真的是太温柔啦。。。。。。。


    关楚耀 《同名专辑》

    然后也说说没有出新专辑的关楚耀。他于去年出过同名专辑,反响也比较好吧。歌也不错,就是不知道为什么后来就没出了。。。

    同名专辑中比较不错的歌包括:

    飘忽小姐 倒数 十年树木 大喊包

    飘忽小姐 是我听得最早的他的歌,觉得很不错,很喜欢那种气氛。觉得广东歌很多都是这样的气氛,轻松,自在,悠闲,有品,最多就加少许的激情和颓废。就是广东香港 粤语文化圈的感觉。

     

    侧田 《no protection》

    侧田同学今年貌似也没有新专辑?05年出了第一张,06年再出一张。知道他是因为一次k歌一个广州的同学非常完美地唱了他的《命硬》,真是一首非常适合展示k歌水平的歌啊。

    《no protection》的歌都还不错,都值得一听。其中我比较推荐《Volar》,快歌,关于DJ的歌,英文rap充分说明其英语水平。其他就是首首神情款款的慢歌了,其中 走音,美丽之景 比较不错。最后还有两首曲/词/编/监都是他的英文歌。

    至于《justin》那张,好人 命硬 superstar 我有今日 都不错。还有一些经典英文歌如 loving you 的翻唱。

    再加一个 梁汉文《梁汉文集》

    注定

    行到瘦

    也超赞的。。。

  • from New York Times

    Bilbao, 10 Years Later 


    The Guggenheim Bilbao along the banks of the Nervión River. The river was once polluted by industrial waste.


     
    By DENNY LEE
    Published: September 23, 2007

     


    A LIGHT patter bounced off the titanium fish scales of the Guggenheim Museum in Bilbao as a tour bus pulled up beside “Puppy,” Jeff Koons's 43-foot-tall topiary terrier made of freshly potted pansies. A stream of tourists fanned out across the crisp limestone plaza, tripping over each other as they rushed to capture the moment on camera. After the frisson of excitement dimmed, they made their way down a gently sloping stairway and into the belly of the museum, paying 10.50 euros to see the work of an artist that most had never heard of.

     

    It was a ritual that repeated itself several times an hour, like a well-run multiplex. And if Anselm Kiefer, the controversial post-war German artist, was eclipsed by the metallic blob that held a retrospective of his work, consider how Bilbao, a rusty port city on the northern coast of Spain, stacked up to the very museum that put it on the cultural map.

     

    “We don't know anything about Bilbao besides the Guggenheim,” said Luigi Fattore, 28, a financial analyst from Paris, who was taking pictures of his girlfriend under the puppy. As if to underscore the point, they showed up at the museum's doorstep with their suitcase in tow. “We've arrived half an hour ago,” he said, “and went straight to the Guggenheim. Aside from the museum, we don't have any plans.”

     

    Such is the staying power of Frank O. Gehry's architectural showstopper, 10 years after it crash-landed on the public psyche like a new Hollywood starlet. The iridescent structure wasn't just a new building; it was a cultural extravaganza.

     

    No less an authority than Philip Johnson deemed it “the greatest building of our time.” The swooping form began showing up everywhere, from car ads to MTV rap videos, like architectural bling. And in certain artistic and architectural social circles, a pilgrimage to Bilbao became de rigueur, with the question “Have you been to Bilbao?” a kind of cocktail party game that marked someone either as a culture vulture or a clueless rube.

     

    “No one had heard of Bilbao or knew where it was,” said Terence Riley, director of the Miami Art Museum and a former architecture and design curator at the Museum of Modern Art in New York. “Nobody knew how to spell it.”

     

    The Guggenheim changed that overnight. Microsoft Word, Mr. Riley noted, added “Bilbao” to its spell checker. And as word of the Guggenheim spread, tourists of all stripes began converging onto the small industrial city — the Pittsburgh of Spain — just to check it off their list.

     

    “I've been down there four times,” Mr. Riley added proudly. “That's probably more than most.”

     

    Even for those who couldn't spell “Bilbao,” let alone pronounce it (bill-BAH-o), the city became synonymous with the ensuing worldwide rush by urbanists to erect trophy buildings, in the hopes of turning second-tier cities into tourist magnets. The so-called Bilbao Effect was studied in universities throughout the world as a textbook example of how to repackage cities with “wow-factor” architecture. And as cities from Denver to Dubai followed in Bilbao's footsteps, Mr. Gehry and his fellow starchitects were elevated to the role of urban messiahs.

     

    But what has the Bilbao Effect meant for Bilbao?

     

    I first visited Bilbao in 1999, a lone, wide-eyed tourist who had read about the “Miracle in Bilbao” on the cover of The New York Times Magazine, in which the paper's architecture critic, Herbert Muschamp, likened the “voluptuous” museum to “the reincarnation of Marilyn Monroe.” And on that cold and dark March afternoon, when the lush green folds of the region's coastal mountains were shrouded behind a gray veil, the Guggenheim indeed glinted like a blonde metallic bombshell.

     

    After loading my 35-millimeter camera, I took pictures of the museum's sinuous curves, surreptitiously ran my fingers across the titanium shingles and marveled at the galleries' lack of right angles. Oh, there was art, too: Jenny Holzer's soaring L.E.D. columns, a collection of sketches from Albrecht Dürer to Robert Rauschenberg and — caged behind a chain-link fence in a parking lot — one of Richard Serra's “Torqued Ellipses” for a future exhibition.

     

    But the thing that struck me most, more than the dazzling architecture or cool art, was the horrible smell. Here was this magnificent museum, the most celebrated piece of architecture in a generation, and yet the river beside it was as brown as sludge and as putrid as a sewer — a world-class museum swimming in third-world biohazard.

     

    The Guggenheim, I later learned, was built on a former shipyard, and the Nervión River, which snakes through Bilbao to the Bay of Biscay, was the nexus of Spain's Industrial Revolution. Blessed with iron-rich mountains, railroads and an excellent port, Bilbao blossomed in the late 19th century with metalworks and shipbuilding. But a century of belching factories turned the mighty Nervión into a toxic cesspool, earning the city the unflattering nickname “El Botxo,” the Basque word for hole.

     

    But the iron mines eventually gave out; shipbuilding moved to Asia. And when the Guggenheim opened its doors in October 1997, what remained was a Dickensian waterfront of rusting cargo rigs and hollow warehouses. Farther up the river, grease-coated factories croaked along its lifeless banks, like a cemetery for the Industrial Age.

     

    The rest of the city hadn't fared much better. The boulevards radiating from the Guggenheim may have evoked grandeur with their neo-Baroque facades and monumentality, but they were caked in soot and sadly devoid of street life. Sure, there were other signs of design — the caterpillar-like entrances by Norman Foster for a new metro system, a sweeping footbridge by Santiago Calatrava — but they only made the city seem dingier, like a polished fork in a tray of dirty silverware.

     

    But if Bilbao wasn't exactly ready for its tourist spotlight, the gray industrial air gave the city a raw authenticity and gritty undercurrent that was charmingly provincial. In the Casco Viejo quarter, on the other side of the river, the urine-soaked cobblestones and graffiti-covered walls (mostly in support of the Basque separatist group E.T.A.) may have needed a good scrub. But it felt like a real neighborhood, warts and all, that was proudly oblivious, bordering on rude, to tourists.

     

    In the morning, stumpy grandmothers waited in line for fresh bread and Bayonne ham at antiquated shops. By noon, old men sat in dingy pintxos bars drinking txakoli, a semi-sparkling white wine. And when the weekend rolled around, the dark alleyways vibrated with roving bands of Basque youths stumbling between pubs and drinking kalimotxos, a local concoction made from cheap wine and cola. The futuristic Guggenheim seemed to be in another city, far removed from the grubby fish markets and well-tended flower boxes that gave old Bilbao its character.

     

    That cultural schism, however, began to dissolve. In its first year, the Guggenheim was clocking about 100,000 visitors a month. And rather than drop off precipitously like a summer blockbuster, attendance rates have leveled off to “a cruising speed of around one million visitors a year,” said Juan Ignacio Vidarte, the Guggenheim's director, adding that the vast majority were from outside the Basque region, and more than half from other countries. By the end of 2006, some nine million visitors had paid homage to Gehry's miracle.


    THE impact on this city of 354,000 was dramatic. Charmless business hotels and musty pensions were supplanted by trendy hotels like the Domine Bilbao and a Sheraton designed by the Mexican architect Ricardo Legorreta. The rusty shipyards near the Guggenheim were razed for a manicured greenbelt of playgrounds, bicycle paths and riverside cafes. A lime-green tram was strung along the river, linking the Guggenheim to Casco Viejo and beyond.

     

    And all across the city, a who's who of architects added their marquee names to Bilbao's work-in-progress skyline: Álvaro Siza (university building), Cesar Pelli (40-story office tower), Santiago Calatrava (airport terminal), Zaha Hadid (master plan), Philippe Starck (wine warehouse conversion), Robert A. M. Stern (shopping mall) and Rafael Moneo (library), to name just a few. It's as if Bilbao went on a shopping spree, commissioning a trophy case of starchitects and Pritzker Architecture Prize winners.

     

    A tangle of construction cranes today rises over the city's terra-cotta rooftops, but the changes are already apparent at the street level. Bilbao, a muscular town of steelworkers and engineers, is slowly becoming a more effete city of hotel clerks and art collectors.

     

    The city's main artery, Gran Vía de Don Diego López de Haro, is no longer a soot-stained canyon of bank offices. In the tradition of the Champs-Élysées, the sidewalks were widened, curbside parking removed and stone buildings scrubbed. On a warm Friday last May, shoppers streamed out of countless Zara boutiques. Men in natty business suits sat on benches, smoking cigarettes and reading El País. In front of the opulent Hotel Carlton, a handsome couple was being married.

     

    The beautification was echoed throughout the city. Traffic circles like Plazas Campuzano and Indauxtu had been transformed into piazza-like parks, with sculptural lampposts, ergonomic benches and ultramodern landscaping. In place of polluting cars, laughing children now use them as impromptu soccer fields.

     

    Casco Viejo was almost unrecognizable. The graffiti had been erased. The stone facades sandblasted. And old butchers shared the sidewalk with H & M and Billabong.

     

    At lunchtime, crowds converged on upscale pintxos bars like Sasibil, grazing on octopus and Iberian ham sandwiches, which were exhibited like jewelry under polished glass cases and halogen lights. After sundown, well-dressed couples strolled through the warren of alleyways and tunnels, now brightly illuminated by cheery shop windows and klieg-like streetlamps.

     

    But the most striking metamorphosis wasn't cosmetic: the Nervión River no longer stank. With the sludge-spewing factories gone and sewage treatment plants installed, the river began to heal itself. It may not be as blue as the Danube (the color today is more like a rusty green), but within an hour of my arrival, I spotted a lone sculler in a red jersey, gliding by a pair of cormorants.

     

    The cleaner water, however, hasn't necessarily brought more tourists upriver. Despite a host of tourist information centers, including a glass shed outside the Guggenheim staffed with professional guides and a rainbow of color brochures, Bilbao remains very much a one-attraction town.

     

    On a cloudless Sunday morning, the Museo de Bellas Artes — with important works by El Greco, Francis Bacon and Eduardo Chillida — was nearly empty, despite a 2001 expansion and being just a quick stroll from the Guggenheim. Maybe that's why the museum closes at 2 p.m. on Sundays. (At least it was open. The city — restaurants, grocery stores, cafes — shuts down on Sundays; everything, that is, except the Guggenheim.)

     

    The Maritime Museum, which traces the city's port and sailing history, was completely deserted, save for the bored-looking woman at the ticket counter. Even the Moyúa neighborhood next to the Guggenheim, which should have benefited from the Bilbao Effect most acutely, is far from tourist ready. There's one postcard store across the street and a couple of hip restaurants nearby, but this residential district is otherwise filled with featureless stucco apartments, five-and-dimes and plain bodegas. A clutch of art galleries have sprung up along Calle Juan Ajuriaguerra, but its proximity to the Guggenheim is merely coincidental.

     

    “There's no art market in Bilboa,” said Javier Gimeno Martiñez-Sapiña, who owns the year-old photogallery20. “I don't think the Guggenheim has helped. It's still very hard for local artists to sell art here. They have to go to Madrid or Barcelona.”

     

    No wonder many guidebooks still devote as many pages to the Guggenheim — reprinting floor plans, offering tips and expounding on the museum's design — as they do the rest of Bilbao. On paper at least, Bilbao seems to have it all: world-class museum, fine Basque cuisine, a rollicking night life and lots of shopping. But like the new bike paths that were rarely used during my visit, the city lacks the critical mass of attractions to take it from a provincial post-industrial town, to a global cosmopolitan city. And in the meantime, it is losing the shabby edge that gave the city its earlier appeal.

     

    The concentration of first-rate architecture is astounding, even without Gehry's titanium masterpiece. But architecture alone does not a city make. Bilbao is all dressed-up, but hasn't figured where to go.

     

    “Our local culture still hasn't integrated with the Guggenheim,” said Alfonso Martínez Cearra, the general manager of Bilbao Metropoli-30, a public-private partnership that is guiding the city's revitalization. “This is still an industrial city.”

     

    The disconnect between Bilbao the brand, and Bilbao the city was on display one Saturday night, when the narrow streets of Casco Viejo were once again packed with young bar-hoppers. The smell of marijuana wafted from a crowd outside a bar on Calle de Somera. In the group was Ikel, a 22-year-old studying to be an engineer, like his father.

     

    “I've never been to the Guggenheim,” Ikel said between puffs, as mechanical street cleaners starting scrubbing beer and urine from the cobblestones. “It's for tourists.”

     

    VISITOR INFORMATION

    GETTING THERE

    Flights from New York to Bilbao, with stopovers in either Paris or Madrid, start at about $700 for travel next month on a number of airlines, including Iberia. From Bilbao airport, a taxi to the city center is about 25 euros ($35 at $1.40 to the euro).

    Most attractions can be reached by foot, though the futuristic metro system is an attraction in itself. A BilbaoCard, for unlimited metro and tram rides, plus museum discounts, starts at 6 euros for a day and can be purchased on the city's tourism Web site (www.bilbao.net/bilbaoturismo).

    WHERE TO STAY

    Iturrienea Ostatua (Santa Maria Kalea 14; 34-944-16-15-00; www.iturrieneaostatua.com) offers Old World charms and exposed oak beams in the heart of Casco Viejo, with rates staring at 60 euros. Ask for a room with a balcony overlooking the cobblestone street.

    Gran Hotel Domine Bilbao (Alameda de Mazarredo 61; 34-94-425-33-00; www.granhoteldominebilbao.com) is across the street from the Guggenheim and has 145 modern rooms starting at 140 euros a night. The rooftop terrace offers great views of the museum and surrounding hills.

    Hesperia Bilbao (Campo Volantín 28; 34-94-405-11-00; www.hesperia-bilbao.es) is a trendy newcomer, next to Santiago Calatrava's footbridge over the Nervión River, and has 151 boutique-style rooms starting about 90 euros.

    MUSEUMS

    Guggenheim Bilbao (Abandoibarra 2, 34-94-435-90-80; www.guggenheim-bilbao.es). Open 10 a.m. to 8 p.m. every day except Monday. Admission is 10.50 euros.

    Museo de Bellas Artes (Museo Plaza 2, 34-94-439-60-60 www.museobilbao.com). Open Tuesdays through Saturdays, from 10 a.m. to 8 p.m, Sundays from 10 a.m. to 2 p.m. Closed Mondays. Admission 5.50 euros.

  • 昨天考完托福,从早上8点考到11点17分,也不算太久嘛。第一个进考场,第一个出来。

     

    觉得发挥出最好水平了,特别是口语,一路上心情舒畅着。

     

    路过西直门,看见13号线和2号线的连接通道建起来了,总算建起来了。

     

    在西环广场新开的商场一层逛了一圈,全是珠宝。逛到一家bread talk,买了一个芒果慕斯奖赏自己。

     

    最近blog因为Royaia的到访而点击量大增,多谢他/她的观赏拉。但是他/她不告我是谁,装神秘,现在决定予以通缉。

     

    从R的无数评论中,可以总结出其以下一些特点:

     

    揭东一中校友,同届,高三和oliver同班。而且知道oliver这个英文名。

    喜欢收集卡片,已经收集几百张卡片。

    使用粤语留言,可见在珠三角特别是广州上学。

    看过《中日居住文化:中日传统城市住宅的比较》(曹炜),可以推断是建筑相关院系学生。

     

    根据以上一些特点,希望大家提供线索,多多举报,有重赏。

    谢谢。

  • Damage Control - [Enjoy My Life]

    2007-08-28

    回学校三天了,这三天一直在做着Damage Control,每天东奔西跑,累得要死。那些汕头长平路的贼真是把我害惨了。我在心理无数遍地诅咒他们下十八层地狱,永世不得超生。

    先是补办学校的各种卡,学校的卡又多,一张ic就要三十,真是抢钱。

    身份证要到中关村派出所,一个极其隐蔽的派出所,40元,竟然还要一个月后来领,我的天。

    然后银行卡,北京银行挂失可以用港澳通行证,没想到了招行就不行了,我在那苦苦哀求说他们北京银行就可以啊,而且我还有学生证,还有补办身份证的证明,为什么就不可以呢,我等不了一个月啊。。。。。她冷冷地说,不行,这港澳通行证上面没有身份证号,这样会有漏洞,有风险,所以不能办。

    于是乎又得到中关村科技园那边办证大厅办临时身份证。什么办证大厅?天哪,还是打车吧。到了之后发现是叫中关村社区服务中心的,在西钓鱼台那一站,里面全是办事办证窗口,几乎覆盖了北京所有的部门。临时身份证10块钱,半个小时可取。黑白的,好像死人证。

    挂失招行卡之后,本以为告一段落了,没想到今早又发现托福考试一类证件上写着“正式居民身份证”,心冷了半截,打电话去问,果然临时身份证是不行的。她说,这样你没有办法来参加考试,或者你去办个加急的护照。

    于是下午又到户籍科借户口卡到那个出入境管理局的大厅,办护照。倒挺简单,领因私出国申请表,填好后拍照30元,然后复印身份证和户口卡,然后办理快递。7天后寄到。护照工本费200,快递费21。

    然后一周后我才可以领到我新的银行卡信用卡,还有护照,一个月后才可以领到身份证。

    希望这是我第一次钱包被盗,也是最后一次。

    最后再次诅咒他们下地狱。永世不得超生。

  • 放上来纯粹是因为Yang寄给我在意大利拍的照片 以此作为交换 哈哈

    这个住区设计是和vg合作的

    由于没有征得他的同意 只放上来我自己做的一些住宅设计

    住区规划是在旧城城市肌理和历史的延续和保证容积率的两个方面寻找平衡点

    所以住宅的设计也考虑很多历史风貌的因素。。。做出来就是这个样子的。。。。

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    在最后一节课被老师赞了的的天井户型。。。完全没有料到

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    透视

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    透视 里面还摆了家具哦。。。。。。

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    高差户型的可怕立面。。。。。。壮观吧

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    入口楼梯 透视

    注意上面有地段的名字:白马庙

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    透视

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    沿着建国路做的底商 还ps了百事可乐和麦当劳的标志。。。。。。

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    一张未p玩的a3图。。。底商类住宅立面

  • He & He... - [Enjoy My Life]

    2006-11-13

    好久没贴照片啦 贴两张那天去香山的。。。btw 香山除了卧佛寺 其他一点不好玩 那红叶纯粹是胡扯 骗人

     

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    卧佛寺前的石阶 衣服颜色刚好 只是没精打采

    那天第一次去罗汉堂 还数了一个罗汉 拿了一张罗汉卡 说 秉性善良 高贵不持 洁身自好 涵盖为善 哇哈哈。。。


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    拍的模糊照片 发现很有那个意味呀。。。由于未征得两位男主角同意 严禁转载