Be high-waisted

时尚正在每个细节里透露复古的意思。就像Scarlett Johansson正在挑起的上世纪中叶的各种情趣。讲究的发髻和帽子、宽大的腰带和宝石珍珠、梦露玲珑有致的曲线、发胶的利用和追求成熟。
不过恐怕永远也没可能保证潮流会跟在你后面，因为很可能它已经是既存的了。

对高腰裤的迷恋已经几多时日。除此之外就是粉红色和背带。

没有人比斯佳丽更适合高腰裤，完美。当在Vogue第一次看到这张斯佳丽，就去寻找带来这种现代而具复古韵味的源头和标记，不用多久你就会知道，就是高腰牛仔裤。这种老裤型的确正悄悄从妈妈们的衣柜里重现生机。

Toyo Ito,TAMA ART University Library

位于东京的多摩美术大学图书馆--伊东丰雄

With its iconic arches, Toyo Ito’s new library at Tama Art University has the aura of a Romanesque building. But caves, not compression structures, were the architect’s inspiration, so any similarities to European antecedents are merely superficial. And unlike the straightforward, repetitive systems used historically, Ito’s high-tech concrete curves—each one different—tiptoe gracefully in multiple directions throughout the building.

The building marks the final stage in the development of the 45-year-old campus, one of two belonging to the multimedia art school where Ito serves as a guest professor. Located 16 miles west of central Tokyo, the hilly, 39-acre property abuts open land once earmarked for residential development but still fallow in 2007. Housed in a collection of concrete-and-glass buildings bound by tree-lined streets, the school enrolls 3,600 students who commute daily to its studio and performing arts facilities. Ito’s library commands a choice site overlooking the university’s main gate and the public bus stop beyond it. Defined on two sides by bowed walls, it makes a strong first impression: monumental without being a monument, and contextual in scale and material without getting lost in the shuffle.

To capitalize on the building’s strategic location, Ito first wanted to submerge the library and top it off with a single-story gathering place where students and professors could cross paths and exhibit their work. But this idea did not go over well with the university administration, which envisioned a conventional 3- or 4-story building with a gallery below. Also, buried infrastructure prevented a full-scale site excavation. Despite these roadblocks, Ito was unwilling to abandon his original concept altogether. So he inverted his underground grotto and turned it into a 60,700-square-foot building with a single, large space on each of its two stories, each one loosely divided into functional zones by arcades.

A continuous sheet of concrete, the building’s cavernous ground floor flows down to the north, following the land’s natural slope. It reads as a unified, slanting space accessed through an arcaded gallery. A circulation conduit and multipurpose exhibition hall all in one, this informal gallery has plenty of room for students to congregate around one of its built-in tables or display their work, be it a painting or a performance piece. It also acts as the entry foyer leading into the library, whose ground level contains the circulation desk, an administrative area, a media bar, and magazine display tables topped with glass that parallel the angled floor. A set of stairs shaped like a floating curlicue of concrete ascends to the second floor, where the main reading area flows into open stacks on one side and a two-story block of closed stacks on the other. Unlike downstairs, the floor plane here had to be level for the book trolleys that transport the library’s 10,000 volumes. But overhead, the ceiling tilts up gently, filling the entire second floor with soft, north light.

no crying angel

假日的午后，看书久了眼疲倦，抬头感受到外头和煦的日光，还有总不歇停的乌鸦啼叫声，伸个懒腰决定出门散会儿步。
新屋的对面是一个垒成山坡型的公园，有不少身杆挺拔的大树，个个撑着巨型的树冠，即使是秋天，深色的树叉搭配上并不稀疏的树叶，深深沉沉漫开去一片。山坡脚下的一处平地，用短木桩圈出一块朴素的泥土地，这里摆着两部摇木马，一架小滑梯，一片细沙坑和木长椅。像这样普通的孩童嬉戏地是每个社区必设的，通常还会有秋千，而我对此再熟悉不过了。夜晚那里是我常去散步的地方，我想我是喜欢上了这些色彩柔和造型有趣的大玩具。此时天气好，人自然不少，主妇们带着自家不止一个孩子上这儿会面其他主妇。细细嗦嗦地讲着这家长那家短，孩子们则象一群脱缰的小马，疯跑疯玩疯笑。瞧着这些精神的孩子们，我猜那些主妇们微笑的脸上透着的是满足与欣慰吧。

这不由让我想起家乡的那些孩子，他们嬉戏的场所究竟演变成什么样子呢？我们不愿承认的事实是, 高楼吞噬绿地，城市规划局面淆乱，人均绿化面积在小区设计中虽是硬指标，却更多栽上既不美观也不合时宜的灌木，日子一久便垂了头歪了腰。至于社区健身场地铺设硬质水泥地, 显然也很欠考虑。为孩子们提供一个身心愉悦且安全的环境是每个成年人保护幼者最基本的意识与责任。他们需要在有充沛阳光，清澈空气，绿树，温润的水呵护包容下，带着甜蜜灿烂的笑容被正确引导。没有人会忍心去破坏应属他们的这一切。

人的一生如此有限，我们发着柔嫩的芽茁壮成长这个过程稍纵即逝，在这纯粹又如此脆弱的起始阶段，无所保留地给予每个孩子感受美好事物的空间, 让每个孩子都留藏着自己愉悦的童年回忆 ,亦或拥有不后悔的青春。我认为，只有依恋着这个世界的美好, 信心百倍地成长，才能勇敢地面对人生中接下来的艰难，用坚强的心保护我们所爱的人并给予他们支撑。无论如何，我不愿意看见哭泣的小脸蛋，我们没有理由把自己的懦弱施加给无辜的孩子，或者斥责他们不经意的无心作为。

你知道，孩子的世界里不应有哀伤。

Factory Girl

过分戏剧。过分说教。过分冷漠。过分坦白（或者苍白）。

吸血鬼一般的安迪.霍夫曼。

乳臭未干的鲍勃.迪伦。

除了迷你裙和烟不离手的Sienna Miller。不是Edie。

Jon Brion

从我喜欢的两部电影《Punch-Drunk Love》和《Eternal Sunshine of the Spotless Mind》中的绝佳配乐开始，我忍不住去寻找Jon Brion的音乐，进而再去找他配乐的电影。Brion应该是个有趣的人。他的音乐里奇幻、美妙还有少许的慵散，有时候更像是梦的舞步，陪同影像用各种实验玩味的电子、弦乐、键盘使电影的浪漫与哀愁产生各种微妙的化学反应。听过他改编的很多熟能详耳的曲子，像Radiohead的《Creep》、Led Zeppelin的《Stairway to Heaven》和Beatles的歌等等，对Brion的音乐表现我感到惊喜，之余就是音乐的这种愉悦的自由心境。也是我目前Mp3的Top Artist。

资料：Last FM
Throughout the '90s, Brion found himself increasingly in demand in the studio, producing and collaborating on albums by Aimee Mann, Fiona Apple, Rufus Wainwright, David Byrne, and the Eels and soundtracks including the Grammy-nominated Magnolia.Recently, Brion experimented Hip-Hop style as producer on Kanye West last album, "Late Registration". The result is brilliant, with real-life instruments mashed up with heavy beats. To complete this mutation, Kanye West did a live recording of his record at the mythic Abbey Road Studio, Jon Brion being the missing link between Hip Hop and The Beatles pop music.In addition to his prolific studio work, he also has held a long-term position as "the house band" Friday nights at the high-profile Hollywood nightclub Largo. At his live shows, the crowd can expect anything from guest appearances by Aimee Mann, Michael Stipe, Elvis Costello, T-Bone Burnett, or Grant Lee Phillips, and Brion is infamous for making up songs on the spot (often from titles shouted from the audience). He also is beloved for his quirky cover versions of songs by Cheap Trick, the Beatles, and Cole Porter, proudly likening his on-stage antics to "spraying musical Raid on the classics, until each dying song flips on its back and wiggles its little musical legs in surrender." Whatever music he was involved in, his eclectic touch undeniably shaped the sound of many progressive alternative musicians throughout the '90s.

不容易的活着

要说我的理想，我能想上一天。我想去荷兰的农场那里看上一天的奶牛。也想去严寒的南极跟企鹅打上一阵交道。我也想在沙漠上摸索除了自己以外的另一片奇怪脚印......我也想过我会结婚，我想像我穿着一身带红绿花卉图案的漂亮唐装走上地毯，丝的质感在泛红的光线下溢满整个屋子，每个人的脸上都发着光，我看到父母终于卸下愁容在琳琅满目的美食之间灿烂地笑开，尽管走在我身边的那个人，他的脸始终模糊不清。然而幸福没有定义，童话故事里的美丽结局到现在读起来都有如戛然而止，没有了以后。我的以后又会怎么样呢，我明确了老父老母的理念是我用一辈子也无法调整的。至于我，那些坚持自我和万恶的旧社会都已不想再提，只觉在这只因沧桑而不可动摇的现实里要想顺其自然、不带亏欠地活着该有多么的不容易。


半个月前的我，夏末的最后一张形象。

你好东京，再见杭州

拖着沉重的行李站在人流交织的成田机场时已近晚上6点，7个多月前来东京旅行的场景扑面而来，我忘不了第一次站在这个庞大机场的那股兴奋劲儿，这比起接下来在东京湾旁，北海道海边的景象显然算不了什么，但预料之中与预料之外的冲击在那为期两个星期的行程中带给我的快乐和新鲜感至今犹如发生在昨天。回过神来慌忙感谢来日旅行的杭州老乡，飞机上大家一见如故，下飞机后还帮我分担了笨重的大背包，让我十分感动。要不然得话我可能会花掉不止2倍的时间停停走走。 再次祝你们有个美好的旅程。

在机场宅急便办托运，过程十分便捷，近20公斤的行李箱1700円第二天一早便能送到。摆脱了一件大家伙顿感轻松不少，买好票去空港地下一层坐skyline的快行线到日暮里站，再换乘京滨东北线到达蕨站。电车里的屏幕无声地播放着介绍香港旅行的广告，李小龙的塑像滑稽地立在维多利亚港口，仿佛像是丹麦港口的美人鱼翻版。这会儿正好是下班时间，电车里满是穿着深色西装返家的职员，顾自打盹，玩手机，看书，人虽多却也安静，偶俄私语的人忍不住发出的笑声，可以传到两个车厢之外。出了蕨站口是晚上8点多，天空中飘着凉飕飕的细雨，路灯下看到来接我的sho桑，sho桑是我在日学习期间的合住同伴，日语和英语都相当好，我衷心希望自己能早日达到他的水平！ （080929）

last year at westlake

贴上07年初自己最满意的一组风景人物作品。
摄于杭州西湖沿岸，初春。

看美剧

《越狱》第4季终于出世，再看的时候才觉得心中那种先前无论对Scorfield同学还是对整个情节的强烈期盼已经渐行渐远，看来时间真的能改变和麻木人心。我还是想念第一季里的Micheal Scorfield，睿智而慈悲，而事到如今剧情对他的塑造恐怕早已超出了他原先的道德标准，不断地无奈而又被逼无奈使他坚定的形象已经开始被涣散。可怜的Scorfield，在无数侥幸逃脱的情节安排中似乎有点木纳了。正义太过脆弱，机遇已经占了上风，我只有静下心期盼他再次深情的样子。

至于我看的一部挺火的美剧《迷失》，无疑它不仅扑朔迷离，而且在无望境地里的励志情绪显得它较为积极，可能这就是前年金球奖上它能够取胜越狱的原因吧。我看到第二季的18集，坦白说我已经很烦，我越是急于知道事情的真相，剧情就越是一波未平一波遂起，而且有些情节看似毫无根据，像是编剧在那里胡诌，让观者掉进一个愈加混乱的谜团里休想出来。故事可能是想借助这一点来捕获人心，可是结果令人身心疲惫，毫无头绪，也失去了部分耐心。我看的美剧不多，但我知道连续剧通常在心急如焚的时候会跟你说再见，但是瞧吧，这集的时候居然又出现了两个神经病，我感觉我被戏弄了。......总之〈迷失〉已经完全将我迷失了，可能它就是个魔幻故事或是巫术之类的题材也说不定，我对每一条我找到的线索都没有信心。我的兴趣其实开始转移到那些剧情的把戏上去了，看不看其实都无所谓。

还是喜欢电影的表达方式，不易冗长。

午餐

家里有昨晚上没吃完的饭，于是想着用冰箱里现成的原料做了咖喱配菜，浇在饭上正好。：）