想仿照The Harvard Crimson，搞些統計數據嗎？Class of 1975 By the Numbers
畢業紀念冊上，每人的生日、家中電話號碼 (或者空白，比例不少).....
或者來個"定性的。猜猜哪一頁：
范文正公《蘇幕遮》龔春田書於東海學苑
碧雲天，黃葉地。秋色連波，波上寒煙翠。山映斜陽天接水；芳草無情，更在斜陽外。○黯鄉魂★1 ，追旅思★2；夜夜除非、好夢留人睡。明月樓高休獨倚★3 。酒入愁腸，化作相思淚。
《惡之華》--法國象徵主義詩人波特萊爾的不朽傑作，對20世紀現代詩最具影響力的世界名著 日本小說家芥川龍之介曾為之傾倒自嘆：「人生不如波特萊爾的一行詩」。
Is it a wall? Is it a cave? Actually, this year’s Serpentine Galleriespavilion started life as shelves – but it has gawp-factor by the bucketload
Ken Su 來訪，說老殘遊記 我提Authur Waley的讀它感動落淚故事：各種學問的Overview /state of arts....統計學的幫助....
聯經、秋水堂....
Pilgrimage - Werner Herzog (2001)
https://www.youtube.com/watch?v=3QOuhNBawdk
Uploaded on Jan 14, 2012
Pilgrimage is a 2001 short documentary film by famous Germany director Werner Herzog. Accompanied only by music the film alternates between shots of pilgrims near the tomb of Saint Sergei in Sergiyev Posad, Russia and pilgrims at the Basilica of Guadalupe in Mexico. The score was composed by John Tavener and performed by the BBC Symphony Orchestra with vocal accompaniment by Parvin Cox and the Westminster Cathedral Choir.
朝聖是由著名導演德國沃納赫爾佐格2001年的短紀錄片。只有音樂伴奏瓜達盧佩墨西哥大教堂聖謝爾蓋在塞爾吉耶夫，俄羅斯和朝聖者的墓附近的朝聖者的鏡頭之間的薄膜交替。比分是由約翰·塔文納組成，並由BBC交響樂團與帕爾考克斯和威斯敏斯特大教堂合唱團伴唱執行。
http://www.architects.org/architectureboston/articles/kenzo-tange-lecture-toyo-ito-
Kenzo Tange Lecture: Toyo Ito, “Tomorrow’s Architecture”
Harvard University Graduate School of Design
March 7, 2016
March 7, 2016
Gathering with friends beneath the sakura trees each spring, just as the cherry blossoms begin to fall, is embedded in Japanese tradition. This instinctual sense of placemaking, of sitting below the wispy branches, was captured in Toyo Ito’s subtle imagery of an encircling ring of fabric panels: “This is how I create ‘Places’,” he said to an overflow audience at Gund Hall. Accordingly, Ito suggested, “Space is just void, an expanding and unlimited void.”
Introducing three projects, Ito drew connections from linguistic structure. “The way that Japanese language is positioned in space is similar to how a ripple dissipates into water.” This sense of the relationship between key elements inspires flexibility in the designer’s work.
Photo: Kai Nakamura
Employing this principle in the Sendai Mediatheque, the 13 structural tubes in the plan act as free-floating elements, creating spaces between them. Similarly, in the design of Taiwan’s National Taichung Theater, which will be completed this year, the elements intersect both vertically and horizontally to create a suspended network of places tucked within the amorphous reinforced concrete structure. In the recently completed “Minna no Mori” Gifu Media Cosmos, in central Japan, Ito expressed the façade as an exposed sectional cut — such that the “spaces can dissipate continuously” to the outside, emphasizing his belief that “there is never any confinement to the architecture.”
Dean Mohsen Mostafavi and a student asked Ito about the disjunction between digitally driven design processes and labor-intensive fabrication methods. Highlighting the intricate steel reinforcement assemblies at the National Taichung Theater and the undulating laminated timber roof of the Gifu Media Cosmos (above), Ito emphasized an appreciation for handcraft. Perhaps more important, he voiced a preference for a human-centered construction process: “The more people who can say that they helped build this project, the better.”
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