biasa dipanggil monic . misaho karena aku sukaa bangett ngomong aho !

jadi sepupu aku manggil aku misaho

aku baru aja buat wordpress

jadi salam kenall yaa

aku jga sebelumnya uda buat blog

kunjungi yaa !

colourful by aho

jadi sekiann duluuu

tujuan buat wordpress ini cuma isengg

lagiann , hampir semua GFC punya nya wordpress

jadi aku ikutann deh !

hehe :P

Well moving on since we're moving full circle back to the old HM@ days, the girls are all wearing their old costumes.

Sayu says her weekly comment and gets a teeny shove from Kamei.

1/5: Anyways, we move onto a bar scene, which is already a red flag....(lol)

This really reminds me of a talk my friend and I had about Kamei secretly being a "lady of the night", doing petty crimes and stealing people's Berryz CD's. Along with the Pepper Keibu PV, our suspicions have now been confirmed.

So Kamei's sitting down with a dart in front of her (go figure) and all of a sudden she wants to throw it behind her and have it hit the dartboard. Which gets a really harominzed "Ehhhhh!" from the girls.

And of course there's no way she's ever going to get a break and have just hitting the dartboard be enough, no, the staff wants her to get a bullseye. I'd be so out of there, omg. People can barely do that standing right in front of it. Poor PPP, I wish her a lot of luck on this one.

As usual the BIG/SMALL screen appears.

And of course, she's failing horribly already, hitting the ground, the wall behind her, and the back wall by the dartboard.

On the 50th try she actually hits the dartboard (shock!).

Nothing happens again till time 100 when Kamei literally almost gets a bullseye, which is utterly amazing.

And what the hell, time 121 Kamei nails it right in the middle of the dartboard. She's so happy that she starts gurgling at the end of her excited talking. Afterwards she talks about how tough it was to throw since the dart was heavy and etc.

2/5: Princess WaiWai is back, maybe for the last time, and she's got HoiHoi twoddling along with her.

So she's got three members faces hanging from a string tied to a stick (for whatever reason).

The first question:

Sayu: "Out of all of the Morning Musume members, which one is the cutest?"

And somehow the string with her face starts winding upwards, but the faces of the other members don't. (or something)

I think the next question has something to do with "who doesn't listen", but all i know is it's Reina and she's not taking that decision quietly.

The next one has something to do about work, and Eri's face starts wiggling, of which she replies something of the sort about barely arriving on time for work (i think), but she says it so quickly that it sounds borederline jibberish.

Sayu does her Y pose, which is starting to wane a little bit in my opinion (lol). Eri doesn't hesistate to say "Look at the old man!"

Sayu begins explaining something about Handpower to Reina, when she starts calling her self Sayumi instead of WaiWai (lol).

Its Ai-chans turn, and might I add it's weird seeing a (22) after her name now--Happy Birthday!.

3/5: So it's Cabbage-kun being her teacher, as she's suddenly a black-haired student. A glimpse into the life of Ai if she never became a singer, lol.

So it looks like devious little Cabbage is going to play pranks on everyone and see what their reactions are, and Ai-chan will try to predict them.

Apparently, as Sayu's playing the little Pirate Barrel game, a real pirate is going to pop out of a barrel and scare her. (lmao, this is the weirdest thing I've ever seen, and they look so serious about it).

So Sayu's in the room looking around, and once she puts in the knife the guy pops out, and she yelps and runs away in her little sneakers.

Then she just looks around saying "Nani" and staring at the guy in the barrel from afar, waiting for him to potentially kill her...

I've got to admit her fear is cute (and the members squeaking "kawaii!")...

(the exact same position as before)

...but then she breaks the silence by awkwardly asking his name and introduces herself lol.

So now Ai-chan has a Batsu game (don't even ask me) and she has to do an imitation of Sayu that reminds me a lot of her old Takahashi days but of course afterwards she's embarrased and gives a little squak reply.

Victim number two is Reina, and the same thing is happening except she's in an office and he pops through a table.

So Reina's sitting down at the table talking to the staff guy, and as she's talking to him she spots the hidden camera! (lol finally!) She is damn good at spotting someone spying on her, but the staff tell her its nothing and force her to play the Barell Game.

It's almost frightening how intensely she glares...

LOL! I don't care if there are 4 instant replays, that was funny every single time. Reina hops up squealing and almost books it out the room, but she stops at the door. She then asks him who he is, and what the hell his name is and gives him a "nice to meet you". God, they're all so polite, I would've been so pissed.

But Ai is (lol!) since apparently she got it wrong, she throws down her paper sign on the ground in a slight fury because now she has to do an imitation of Reina. Of which, again she fails at.

Ai-chan: (pretending to be Reina--beeing shocked at herself) Ai-channn!!!

It's actually a good impression but it's still ridiculous and everyone is cracking up at it, including Reina.

4/5: Unfortunately that's the end of that, and onto Aho's!

And they're running around T.V. Tokyo (much to some staff member's dismay).

Well they aren't actually inside as yet, but they're lingering about outside swatting bugs and pointing at signs that say DIGITAL.

As they go in, they almost run into the automatic doors and squeal about it, then they go in the elevator and get out on one of the floors and see their pictures pasted on the wall. (Cinderella the Musical, Bow 30 Degrees, Photocards, etc.)

So they open the closet, and find Akachin in a plastic bag (lolololol) along with Koharu's Hayakusumi costume and some shoes with Risa's name on them.

After they giggle about that they head to what seems like a security guy's office, and look at his cheesey "I'm gonna kick your ass" picture with a gun in the background. So at that second the guy appears and invites them into his office and they surprise him with their aho-ness.

(a promotion for a TV Tokyo movie)

5/5: The final video is Koharu's Voiceover segment, and she's chosen Ai-chan from her Alo Hello (I want to say that's what it is) when she was rollerblading.

I laughed right away. Koharu's voice goes up, down, left, right, through a hole, and down a chute in terms of pitch, I think she might be making fun of Ai-chans dialect, I'm not sure, but you can tell it's not really okay with Ai (lol).

I really have no comments about this episode except it was funny. I love seeing "scared" reactions, and this time Koharu's voice over was really good and odd, aho's were super aho, and The Lady of the Night owned the dartboard. This is definitely an episode im tucking away onto my HM@ folder to watch at some later date. The only thing I'm kinda sad about, is that the show is starting to get funnier just as its beginning to end. Not to mention Yorosen! is going to squeeze 30 or so girls into a 7 minute show, I'm curious how they're going to handle that, but I guess we'll have to wait and see. The worst thing that could happen is that the ratings still go down, but I believe in the show (for now) and the girls, and the effort they'll put in.

Oh--I think Ai-chan is this week's boss. :) (aka watch out for her consistent hilarity)

NEXT TIME:

Laughing Moment SP

There are SNS Pictures for this episode:

前面有人在讲音乐的灵魂问题,真的是提不起兴趣,搞不懂就这样虚无飘渺的情绪也有必要拿出来讨论20分钟，突然想起王小枫同学骂我,"又不好好学习".

一个星期过去了,天气始终没有好转,秋天的雨,越下越冷,真的想缩进温暖的热巧克力里糜烂着.冬天在一天天的临近,想象着窗外的叶子又将枯黄,飘落,惯有的未雨绸缪让我不得不珍视这寒冷的9月.在这个清冷的城市里,一直一来都有很多时间和自己呆在一起,现在似乎更多了.习惯了一个人思考，一个人行动，一个人承担起生活。

想起中午电视里播放的中国某一个重点高中的纪录片。早晨5.30起床晨练，晚自习上到9.40。我没有寄宿过，没有那样严厉的老师，从高一入学就大声宣讲着高考的严峻，摞成小山的书本，两周一次关乎名次的各种考试。但是还是高兴的不得了，在这里呆久了，凡是和中国沾上点关系的，都觉得很亲切，还是中国的小孩看着顺眼，眼神里全是单纯。

看着别人的ppt, 我觉得自己的思维在萎缩。洋人的世界还真不好混。他们的这些玩意，对我来说就是一桌饕餮，精彩但是不平易近人。这已经不像在做一个招贴，一把椅子，设计师的理念可以放在第一位。用他本身的修养，文化积淀来支撑作品的成熟。现在流行的是“民族的就是世界的”，设计师大可以照着自己的思路背景发展出有中国特色的东西，所谓的成功，亦是评价这里有多少和谐的中国元素存在，或儒家思想，或玄学神宗，或纹样构成，来证明我们这五千年不是白走的。

想当年我也曾经是众多挖掘历史的小苦力中的一员，脚踏着自家的黄土地，勤勤恳恳，很有心劲。如今被洋人五光十色的世界给戏弄了，真是不爽，哪来的那么多门门总总last.fm,ilike,myspace,playlist,deezer,itune,songza,musicovery...听个音乐有n个选择，其实我就是百度上搜搜，迅雷上下下。面对一帮洋人还不能说啥都不知道，显得咱中国人老古董，只能恶补了。

About 80% of employed people work with services, and fewer than 15% work with industrial production. There are plenty of products that are designed within services, but service design often has a more strategic focus. This course will look at service development specifically from a design perspective.

Design skills (approach, methodology and way of thinking) have proven to be a strong innovator in user centered service development processes.

At AHO we are developing a method for service design as part of the AT-ONE project (
www.service-innovation.org). This course is closely linked to AT-ONE and the partners in AT-ONE.

Service design has some unique features:

• Services are delivered over time
• Brand and strategy are central to service design
• Services are holistic and are delivered over several touch-points
• Services often combine people and technology in their interface
• Services are experienced. The service experience can be designed
• The measures of quality in a service tend to be qualitative and there are few quantitative measures
• In services, production and consumption tend to occur at the same time

These characteristics have an effect upon the designer’s role and what is designed. This studio course will therefore through focus upon services give an insight into the service design world and specifically give you understanding and experience in the design of service experiences.

I prefer chamber music to large orchestral works just as I prefer intimate gatherings to large crowds .  I already knew that, but the Gothenburg Symphony Orchestra was performing on my doorstep, with their starry much-feted young Venezualan conductor, Gustavo Dudamel, and we had tickets, so I went along.

A large symphony orchestra is quite a sight.  I couldn't help whispering aloud "Wow!" as I sidled to my seat, my eyes fixed on the cornucopia of instruments laid out for us.  One by one musicians filled every inch of the large stage, with a dozen violin spilling over into the space in front of the cellos at the right hand side of the stage.  I counted thirty three violins, trying not to count any of the violas by mistake, and eight double basses.  This was an orchestra at its biggest.  Two huge church bells several feet high stood waiting at the far left of the stage. 

Once all the musicians were on stage, expectation quietened the audience.  Not a seat to spare in the auditorium.  Only two spots were empty - there was as yet no leader of the first violins, and the conductor's podium was an empty space.  We waited, and waited and waited and waited.  And waited, and nothing happened.  People began to shift in their seats.  We wondered if we might venture a word or two to our neighbours.  Then the first violin arrived.  More waiting.  This was ridiculous. 

Eventually the prima donna parted the second violins which closed together behind him, and he took up the baton.  Dudamel.  Short.  A mop of untidy dark curls.  No apology, no explanation.  No music. I wondered what kind of twenty-seven year old could command an orchestra.  I wondered what experience he could add to the performance of those many practised musicians.  He took over the orchestra at short notice last year, and is now its principal conductor.  Next year he becomes the new music director of the Los Angeles Philharmonic Orchestra.  He is supposed to be one of the hottest little things around according to the New York Times.

I was not gripped.  I was still feeling manipulated by the time he had made us wait.  The first piece passed without anything memorable happening.

The second piece, Peacock Tales, is a new composition by the Swedish composer Aho.  It was composed especially for Martin Frost, a clarinettist in his early twenties who has a formidable reputation.  The piece begins with a beautifully clear simple notes that rise and fall and rise.  The tone of the clarinet is exceptional.  Haunting, and lingers in the memory long after the sound has disappeared, like a fragrance.

Part way through the piece, when we were distracted by the main orchestra, we suddenly notice that the clarinettist has donned a Venetian mask and is moving around the stage Michael Jackson fashion.  Quite why he does this I never understand, but I notice that his odd behaviour has substantially changed the nature of what we are watching.  It is no longer music, but theatre.  And the thing is, the theatre is not very good.  At best it is Central Park on a Saturday, Covent Garden in the evening.  But it is not worthy of our attention.  Or rather, I am visually driven and am easily distracted by visual cues.  I compared notes afterwards with a good friend who knows a hundred times more than me about music and performers, but receives all her information first through her ears and only secondly through her eyes.  She found that the theatricals enhanced the music: I found that they took something away from the music.

Short version

With interview with Martin Forst

You can judge for yourself.  Or you can read this review of a performance a day earlier in Edinburgh. You might like to contrast the less than fulsome review with this considerably more positive profile of the conductor which appeared in the Guardian prior to the event and which bigs him up more than he may deserve. Dudamel conducted a native Venezualan orchestra at the Edinburgh Festival last year, an event described by Richard Holloway (a favourite theologian of mine who now fronts the Arts Council in Scotland) in hyperbolic terms thus:

"It became a sort of watercooler event. People were asking afterwards, 'Were you there?' There was probably more kindness in Scotland for about three days afterwards. It enthralled, softened, delighted, chuffed people."

I wish I had been there, because last night's first half left me needing caffeine not water.

I waited a long time for Berlioz's Symphonie Fantastique, to hear those massive church bells struck. Each was played a couple of dozen times. That was it. I hoped that the percussionists did not get paid as much as the violinists. I'll have to find out if they do.

This is the Fifth movement, the movement which contains the church bells:

And this is a link to a very interesting programme about Berlioz and the Symphonie Fantastique. Through the language of the symphony Berlioz tells the story of the passage of a love struck young man's obsession with a girl - an autobiographical groan that grew out of Berlioz's love-at-a-distance for an Irish actress, Harriet Smithson. He wrote this to a friend after his encounter of her stage presence:

"...[L]et me tell you, you don't know what love is, whatever you may say about feeling it deeply [for your friend]. For you, it's not that rage, that fury, that delirium which takes possession of all one's faculties, which renders one capable of anything. You would not be the man to lose yourself in pleasure over the person you love. In that you are lucky, and I would never want you to experience the unbearable suffering to which I have fallen prey since your departure."

Convinced that his love is unrequited, the young man drugs himself to dull the pain and so the Fifth Movement is full of the comfortable horrors of opium.  Berlioz wrote this programme note to accompany this final movement which uses the godly bells to strike at the apogée of the nightmare:

"He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae, the dance of the witches. The dance of the witches combined with the Dies irae."

Our neighbour here is a herbalist.  I had to push past a giant stand of valerian to get to their door, and his explanation of the sleepy properties of this drug prompted me to remember the three-part account I had recently read of experiments by a young Cypriot American, Constantine Markides, with salvia divinorum, an account which Berlioz's infatuation brought to mind. 

"For the first time I felt that I had come up against a tangible spirit.  Not a benevolent spirit, not some interlaced-fingers-on-belly chuckling Buddha, but a cackling psychopath, a destroying angel [...]  All I now recall of this demon are circular saws, razors, teeth, blades—all of them spinning and whizzing with a geometric fury, nearing within millimeters of my body, threatening to slice me if I moved the slightest.  At the same time, a weight was crushing me down.  I could not budge.  Even if I could, these saws would grind me up into mincemeat.  A violent end awaited me if I even took a breath.  I did at one point sneak a gulp and I remember exulting in the fact that I had managed to trick this demon, to swallow without getting carved up."

Drugless unrequited obsessive love is pain at its most exquisite.  Opium did nothing, apparently, to take the edge off its power to wound.  Our neighbouring herbalist had tried salvia divinorum too, when he was a young man of less than thirty, and when he wanted to be a writer.  He wondered how he would experience the drug now that he is just forty.  He might have well have asked whether the emotions of a twenty year old were those of an older man, whether the high and lows of passion are dimmed by age.

Berlioz fell in love with Harriet Smithson after seeing her as Shakespeare's Orphelia in Paris in 1827. He sent her numerous love letters, but none were answered. When she left Paris they had still not met. His musical love letter premiered in Paris in 1830, but Harriet did not hear it until 1832.  She realised that she was the object of the symphony and the composer and actress finally met and were married in 1833.   They were divorced nine years later though the marriage was apparently happy to begin with.

I can imagine a performance of the Symphonie that brings those terrible emotions of obsessive love alive, but this was not it.  At least not for me.

El seu projecte és seguir a Farrera els seus treballs de paisatge en moviment a través del "collage-vídeo" que està treballant darrerament. Podeu visitar el seu lloc web, http://www.heiniaho.com/

la Heini a taula (curset de tradicions catalanes 1 : La palma)

Download PDF.

 

Circulation
The circulation plan was made from the volume model, and was inspired by the earlier sketches on an organic organisation of space. The circulation is linear in some places, looped in others. The main volume acts as a hub, with ramps that go from floor to floor.

 

Facades

 

Sections

 

Perspectives

The goal with the generated space is to show the potencial of the spacegenerator, by using it as a system to create a spacial structure, but also to show the possibilities of variation within this system.

 

Scale

The first step towards the generated space was to give the generator a sense of scale. The basic configuration of the light intake model was given physical dimensions, to see how the actual light transmission properties of the openings would be. Since the light has to travel through a tunnel-like shape that is quite narrow compared to the regular light openings in the structure, it was of priority to make the tunnels as large as possible. Since the height and depth of the intakes also affects their adjacent volumes, they could not be infinitely large, but a balance between light effect and structural efficiency had to be made.

My conclusion was that the light intakes should not be smaller than 0,8m in height, and that the depth shouldn’t exceed 5m. Otherwise they would become too insignificant in the structure.

 

Possibilities in the Section

A building structure that has its section divided in two, gives each room daylight from one side of the building. By displacing the rooms in elevation, the light intakes gives them light from two sides.

A building structure that has its section divided into three, will always have the middle room shielded from daylight. By displacing the other rooms in elevation, it becomes possible to send daylight into the middle room.

These variations of using light intakes that send daylight deep into the structure make it possible to design natural light-dependent buildings that have an increased horisontal dimension.

 

The Grid as Starting Point
Taking the previous findings into account, a grid of 3x6 volumes in 3 stories was the starting point for the generated space. Each volume was 6m x 4m x 3,2m.


 

The Hub
Some of the volumes were defined in an irregular pattern to act as the primary volume of the structure, where the vertical communication will be, and where all other volumes will be attached to.


 

Displacing Volumes
Volumes were moved/made smaller to accommodate the light openings, in a manner that assured that every volume had access to light from two sides. Some volumes were then removed to make outdoor areas.


 

Varying the Grid
The grid was pulled and pushed to vary the size of the volumes.


 

Joining Volumes
Volumes were added together to make larger volumes, and later scaled to further differentiate them.


 

The two concepts were transformed from theorethical thoughts to physical shapes through a series of model experiments.

 

Light intake (2D)

'

The first model was an attempt to look at the possibilities of sending light into a structure. The model shows the section of two adjacent building volumes. By varying the vertical position of the floor, this height difference between the volumes can be used to place openings that send light deep into the structure. This gives the two volumes access to light from two sides, creating depth in rooms that normally would be lit naturally from only one side.

 

Light intake (3D)

The next step was to investigate the consequences and possibilites this juxtaposition of volumes would bring when taking the concept from two dimensions to three. By making a grid of rooms, displacing their height position and rotating them 180 degrees relative to each other makes it possible to send light sideways as well.

 

Network of Volumes

Further investigations were made to work out a set of rules that would regulate the organisation of volumes and light intakes, in a way that would allow for flexibility and variation when used, unlike the monotonous grid of the previous model.

The spiral movement of the original room in Qingdao and the diagrams of the organic hubs were the main inspiration, to create a network of volumes that were connected horisontally and vertically.

By connecting a number of volumes in each floor to form a spiral, one can vary the height and size of the every single volume as long as the one round of the spiral equals an elevation increase of (height of volume+height of light intake).

 

A Freer Interpretation

The previous models were very systematic, almost diagram-like in the way that it dealt with form. They were reduced down to the most basic configuration to look into the structural possibilities and consequences that appear by creating these light openings, without commenting on the esthetics of the physical spaces that were created.

With the final generated space in mind, a set of models were made to look into the esthetic variations that could be generated from these light intakes. Walls were folded in angles to take in and redirect light; define and enclose space.

The effort of translating the features and qualities of this space in Qingdao into a generator of new spaces went in two parallel directions:
Investigating the physical/formal possibilites of a spacegenerator and looking into how space and functions are organised.

 

1. Experiencing Light

Seeing all the diagrams of prisms, where light is bounced around in a complex network of inner reflections, made me think about how this could be incorporated into architecture. One often thinks about the instantaneous nature of light, the speed of light being instant, but seeing those pictures made me realize that light doesn’t necessarily have to travel the shortest way. It made me think about how daylight could be transported and redirected. The way buildings are shaped is very dependent on light, or the lack of light, but if one could deflect and send light as one pleased, it could impact the creations of new spaces.

 

2. The Organisation of Spaces

Aside from the mere physical experience of space, there is also the organisation of spaces/function. It was inspired by a physical model that was originally meant to be only a visual experiment on light.

The model consisted of a translucent box with only two openings, and glass strips that travelled between these openings in different angles and turns, so that they would shift from being transparent to reflective. Making the model, and realising how many glass strips I could put into this limited space without them ever intersecting each other, made me think of the model in a more diagrammatic way.
Different spaces/functions could be made to go from A to B without interfering with each other.

They could be connected at crucial points, hubs, and be made completely free and chaotic between the hubs.

The hubs wouldn’t have to be connected in a linear and two-dimensional way. This could allow a freeform, organic circulation.

 

The Space

This space, or sequence of space, was experienced in the city of Qingdao, a coastal city in northern China. The city was once a German colony. It’s known for its unique combination of hilly terrain, long sand beaches and organic infrastructure coupled with Western-influenced architecture. The urban and industrial development and population increase in the last decades has in many ways changed the city, and its once so idyllic image.

It was on a walk in one of the residential areas of the city, on the hills where the city lies upon, that the space was encountered. We followed a road which cut through the irregular network of smaller roads and eventually descended down to the shore.

Suddenly, the road ended in a square, surrounded on three sides by large buildings. The building that blocked the road had a shape of a solid rectangular volume, with few windows. A smaller rectangular volume was subtracted from this massive block. No billboards or signs marked that this was the entrance, but it felt like the only way out from this uninviting deadend space, so we decided to walk into it.

The building turned out to be a market, and the plan was arranged in a simple manner: escalators in the middle of the room surrounded by small shops in a circle around it. We took the escalators all the way down to the bottom floor. Following the exit sign we, to our big surprise, walked out of the building on street level again.

Turning around and looking at the façade of the building, we could see nothing of the terrain behind it, it was like the drop in elevation had never happened.

Instead of placing the building with the direction of the terrain, or shaping the terrain to harmonize with it, the architects decided to confront the terrain, and then adapt the building to fit in an as direct manner as possible. I find this pragmatic approach interesting, and refreshing.

The sequence of spaces, from the street on the one side, through the spiraling movement down the escalators and then out in street again, was such a fluid movement. The sequence felt like a continuation of the street, uninfluenced by the height differences. The absence of doors or obstacles in the entrances to the building gave the impression that the space inside the building was part of the outside, and it was only when you entered one of the small shops that this space stopped.

 

Flowing Space

The flow of this space reminded me of the Archimedean Screw, an ancient invention used for elevating water. Moving a fluid through a mechanical object that is static(the screw only revolves around its own axis) is quite fascinating.

 

Redirecting Space

The massive character of the facades of the building, together the with small window openings which you can’t see when you are inside the building unless you walk into one the shops, give the impression of a closed volume when you observe it from both the outside and the inside. At the same time this is contrasted by the sequence of spaces that cuts through the entire volume. It’s not unlike periscopes that, with the help of configurations of mirrors, send light through closed objects without light loss or any alterations to the light. Glass prisms are even more complex, where the object is reflecting and encapsulating light at the same time. By varying the shape of the prisms, light is refracted, inverted and rotated in different angles.

 

冷静，努力，明天开始，重新做人。yeah!!