形式意志 Will to Form

Fake&Fact of Architects

2010-02-06T20:30:00.000-08:00

Architect, or Whatever

BARGAIN BASEMENT John Morefield is one of thousands of unemployed designers who are reinventing themselves. Last year, he put up a booth at a farmers' market in Seattle, advertising his skills for a nickel, and ended up earning more than $50,000 in commissions.
By KRISTINA SHEVORY
Published: January 20, 2010

AT the Ballard Farmers’ Market in Seattle on a recent weekend, passers-by could be forgiven for thinking John Morefield was running for political office. Smiling, waving and calling out hellos to everyone who walked by his stand, he was the picture of friendliness. All he needed was campaign buttons and fliers.

In fact, Mr. Morefield, 29, is no politician, but an architectural designer looking for work. He was seated at a homemade wooden stand under a sign reading “Architecture 5¢,” with a tin can nearby awaiting spare change. For a nickel, he would answer any architectural question.
In 2008, Mr. Morefield lost his job — twice — and thought he could ride out the recession doing design work for friends and family, but when those jobs dried up, he set up his stand. As someone in his 20s without many contacts or an extensive portfolio, he thought he might have an easier time finding clients on his own.

“I didn’t know what I was going to do,” Mr. Morefield said. “I had no other option. The recession was a real kick in the shorts, and I had to make this work.”

A troubled economy and the implosion of the real estate market have thrown thousands of architects and designers out of work in the last year or so, forcing them to find or create jobs. According to the latest data available from the Department of Labor, employment at American architecture firms, which peaked last July at 224,500, had dropped to 184,600 by November.
“It’s hard to find a place to hide when the economy goes down,” said Kermit Baker, the chief economist at the American Institute of Architects. “There aren’t any strong sectors now.”
And it’s not clear when the industry will recover. Architecture firms are still laying off employees, and Mr. Baker doesn’t expect them to rehire until billings recover, which he thinks won’t be until the second half of this year at the earliest.

In the meantime, many of those who have been laid off are discovering new talents often unrelated to architecture.

When Natasha Case, 26, lost her job as a designer at Walt Disney Imagineering about a year ago, she and her friend Freya Estreller, 27, a real estate developer, started a business selling Ms. Case’s homemade ice cream sandwiches in Los Angeles. Named for architects like Frank Gehry (the strawberry ice cream and sugar cookie Frank Behry) and Mies van der Rohe (the vanilla bean ice cream and chocolate chip cookie Mies Vanilla Rohe), they were an immediate hit.
“I feel this is a good time to try new things,” said Ms. Case, who did a project on the intersection of food and architecture while studying for her master’s in architecture at the University of California, Los Angeles, in 2008. “You do things you always wanted to do, something you’ve always been passionate about.”

Since she and Ms. Estreller rolled out their truck, Coolhaus, at the Coachella Valley Music and Arts Festival near Palm Springs last April, they’ve catered events for Mr. Gehry’s office, Walt Disney Imagineering and the Disney Channel.

Their initial investment was low: they bought a 20-year-old postal van on Craigslist and had it retrofitted and painted silver and bubblegum pink, all for $10,000. With seven full- and part-time employees, they now make enough to support themselves and have plans to expand (a Hamptons truck is in the works and they are trying to get their products into Whole Foods stores).

Leigh Ann Black was working as an architectural designer in Seattle when she lost her job over a year ago. After a long struggle to find work, she finally moved back to her hometown of Water Valley, Miss., in June, to take care of her sick grandmother.

Ms. Black, 30, is now living above her parents’ garage, but she finally has time to indulge her love of pottery. She recently converted an old horse barn on her family’s farm into a studio, plans to apprentice with local potters and has applied to several post-baccalaureate ceramics programs, with the hope of selling her wares at farmers’ markets and someday teaching art.
“This is not where I imagined I’d be when I turned 30, but I feel really inspired being back,” she said. “There’s something about being with family and not feeling upset about meeting rent, car payment and groceries every month. Now I have some breathing room.”

When Debi van Zyl, 33, was laid off by a small residential design firm in Los Angeles in May, she decided to do freelance design work for as long as she could, and she picked up jobs doing exhibition design for the Getty and Huntington museums. In her spare time, to relax, she started knitting what she describes as “kooky” stuffed animals like octopuses and jellyfish. Then, at the urging of the readers of her blog, she began selling them on Etsy. Les Petites Bêtes Sauvages, as she calls them, have helped her pay the rent and other bills for the last few months.
“You think you’re in charge of your profession, and then the recession hits and you realize that your career is market driven,” Ms. van Zyl said. “It’s forced me to push myself and become more individual. My motto is don’t say no to anything.”

Richard Chuk, of Lombard, Ill., said that since he lost his position as a commercial designer a year ago, when two of his firm’s clients — both developers — lost financing for their projects, he has been looking for any job he can find to support his wife and children, ages 6 and 7.
Mr. Chuk, 38, began his job search in a good mood because of the wave of optimism surrounding the presidential election. During the first three months, he sent out nearly 150 résumés, applying for many jobs he was overqualified for. (Sears, Home Depot and Lowe’s all turned him down for jobs as a designer because he was overqualified, he said.) He had only one interview.
After that, he said, he applied for the rare job that popped up but spent most of his time taking care of his children, studying for his architectural licensing exam and renovating his basement.
This month, he began commercial truck driving school.

“You feel this year of your life is gone,” Mr. Chuk said. “It’s lost wages and lost experiences. But you have to keep positive and move forward. I look at this as an education. It opens up more doors and you never know when it’ll help you.”

As for Mr. Morefield, the architect in Seattle, he started his booth (and a Web site, architecture5cents.com) with the hope that it would bring in sufficient income to get by until he could find another job. As it turned out, he received so many commissions — to build a two-story addition, a deck, a master bedroom — that he realized he could make plenty of money working for himself.

Last year, he made more than $50,000 — the highest salary he ever made working for someone else — and he expects to do even better this year.

“It’s developed into what I was supposed to do,” he said. “It’s a lot of work, it’s scary, but I love every minute of it. If someone offered me $80,000 to sit behind a computer, I wouldn’t do it.”
A version of this article appeared in print on January 21, 2010, on page D1 of the New York edition.

Unable to find design work, Richard Chuk of Illinois, above, began truck-driving school this month

Natasha Case and Freya Estreller have an ice cream truck in Los Angeles.

A version of this article appeared in print on January 21, 2010, on page D1 of the New York edition.(NewYorkTimes)

http://www.nytimes.com/2010/01/21/garden/21architects.html?scp=6&sq=DESIGN%20ARCHI

2009-06-13T20:04:00.000-07:00

Hacking IKEA Part 3 (Design It Yourself)

Statement
我們是一群對於設計有高度熱誠並希望能夠引進國外的新觀念到台灣的設計同好者，我們大多數的背景都是留學荷蘭、工業設計背景，我們試圖在台灣創造出一個能夠讓年輕設計師發表的舞台並且能夠分享生活美學或生活上的創意點滴。所以希望藉此機會能夠在MOT Design Gallery為我們第一次集體發表的舞台，並且結合台灣設計師週的時間點創造出媒體話題，希望未來的台灣設計師週也會成為繼東京設計師週、米蘭家具展、倫敦百分百設計及荷蘭設計師週之後，另一個在世界上重要的設計展覽。

策展主軸
在這全球化的商業體制脈絡下，我們如何在資本主義的潮流中創造出屬於自己的Style，設計出屬於自己所需要的居家生活產品，所以如何在Do It Yourself的模組下改變成為Design it Yourself。

策展內容
(1)延續荷蘭的Platform21所舉辦的活動Hacking IKEA，此活動發生於2008年6月，此展覽繼續的轉移至韓國於2008年11月展出並發行刊物，所以我們希望邀請數位荷蘭的設計師作品與我們台灣設計師的作品一起展出。
(2)我們希望讓一種新式的生活美學或是改變大多數人思考，商品可以經由我們的手創造出不同的功能及不同造型的可能性，並讓多數人能夠在居家生活佈置產生一種屬於自己的靈感和創新。
(3)想藉由MOT所標榜美學思維的理念在這個場域中創造出新的想法、新的靈感，讓商業與實驗性的東西一起結合，並創造出話題性。
(4)展覽時間將訂於八月份與台灣設計師週時段同步展出，希望在台北市營造出設計、人文、藝術美學的象徵性。

展覽細節
(1)展出地點：MOT Design Gallery。
(2)展出時間：訂於2009年8月28日至2009年9月27日或其他建議。
(3)展品項目：荷蘭設計師Daniel Suakes 作品Platonic Sun, 德國設計師Eric Morel 作品Broken heart,荷蘭設計師Lisette Haasnoot 作品ASTRID (副件) 設計師洽談中, 台灣設計師龔維德, 張宇寬, 魏軒壽,許康寧, 張從仁, 林育全視場地的關係我們將展出10~12件作品。
(4)附屬展出物件：(a)一面大型輸出內容為Hacking IKEA展品的內容及設計師簡介, (b)一組電視及DVD呈現Hacking IKEA part 1(荷蘭)及Hacking IKEA part 2(韓國)的活動內容片段。
(5)Opening執行：我們將會在Opening時舉行一個Hacking IKEA的performance或是show我們工作片段的video。
(6)我們將會編排及印製一份免費的小簡介，在展覽場域內免費的贈送並印製postcard在誠品發放製造曝光效果。
(7)我們將會在台北市的破報及文化快遞等刊物刊登展覽訊息，製造曝光機會。

voronoi diogram的相關知識

2009-01-17T21:56:00.000-08:00

In mathematics, a Voronoi diagram, named after Georgy Voronoi, also called a Voronoi tessellation, a Voronoi decomposition, or a Dirichlet tessellation (after Lejeune Dirichlet), is a special kind of decomposition of a metric space determined by distances to a specified discrete set of objects in the space, e.g., by a discrete set of points.

In the simplest case, we are given a set of points S in the plane, which are the Voronoi sites. Each site s has a Voronoi cell, also called a Dirichlet cell, V(s) consisting of all points closer to s than to any other site. The segments of the Voronoi diagram are all the points in the plane that are equidistant to two sites. The Voronoi nodes are the points equidistant to three (or more) sites.

For any (topologically) discrete set S of points in Euclidean space and for almost any point x, there is one point of S closest to x. The word "almost" is used to indicate exceptions where a point x may be equally close to two or more points of S.

If S contains only two points, a and b, then the set of all points equidistant from a and b is a hyperplane—an affine subspace of codimension 1. That hyperplane is the boundary between the set of all points closer to a than to b, and the set of all points closer to b than to a. It is the perpendicular bisector of the line segment from a and b.

In general, the set of all points closer to a point c of S than to any other point of S is the interior of a (in some cases unbounded) convex polytope called the Dirichlet domain or Voronoi cell for c. The set of such polytopes tessellates the whole space, and is the Voronoi tessellation corresponding to the set S. If the dimension of the space is only 2, then it is easy to draw pictures of Voronoi tessellations, and in that case they are sometimes called Voronoi diagrams.

Voronoi圖是1907俄國數學家Voronoi提出的。它是對平面的一個劃分，每個分區表示一些點的軌跡，這些點到點集中的某個點比到其它點更近；它構成並表達但不相連的平面離散點群實體之間的空間鄰近拓撲關係。

定義

從Voronoi diogram是對平面n個離散數而言，它把平面分為幾個區，每一個區包括一個點，該點所在的區域是該點最近距離點的集合

1. 設平面A是一個已確定了尺度的量度平面。

2. 設P是一離散點集合P1，P2，…PnÎP，定義Pi的Voronoi區域V（Pi）為所有到Pi距離最小點的集合：V（Pi）={P/d（P， Pi）≤d（P，Pj），j≠i，j=1，2，…n}

3. 假設P是一離散點集合，P1，P2，…PnÎP定義P的Voronoi diogram V（P）為V（P）={V（P1），V（P2），…，V（Pn ）}其中Pi稱為V圖生成元。

地理空間（2維）對Voronoi diogram的擴展定義

一、Voronoi diogram定義
1. 2維地理空間G是由n個點、線、面實體集合g1，g2，……gn組成的，則該地理空間是定義了一種尺度d的量度空間。
2. 設G是由n個實體組成的集合，g1，g2，…，gnÎG，定義gi的Voronoi區域V（gi）為所有到gi距離最小點（柵格）的集合V(gi )={p/d(p,gi)≤d(p,gj), i≠j, j=1, 2, …，n}
3. 設G是由n個實體組成的集合，g1，g2，…gnÎG，定義G的Voronoi圖V（G）為 V（G）={V（g1），V（g2），…，V（gn）}
顯然，2維地理空間同樣有類似9-3的性質。必須明確，Voronoi diogram是與距離緊密相關的，而距離值是由尺度所基本定義的。不同尺度，距離的概念不一樣，數值往往也不一樣，因此不同的尺度空間，有不同的V圖。上述定義同樣可推廣到3維。

二、廣義Voronoi diogram
拓展Voronoi diogram為廣義Voronoi diogram具有廣泛意義。
1. 設G是由n個實體組成的集合，g1，g2，…，gnÎG，且各實體具有權ki,定義gi的Voronoi區域V（gi）為所有到gi加權距離最小點（柵格）的集合 V(gi)={p│kid(p,gi)≤kj d(p,gj), i≠j, j=1, 2, …，n}
2. 設G是由n個實體組成的集合，g1，g2，…gnÎG，定義G的Voronoi圖V（G）為V（G）={V（g1），V（g2），…，V（gn）}
一般V圖特性在廣義V圖中類似存在。

V圖生成方法
矢量方法生成Voronoi簡述

一、對偶生成法

所謂對偶生成法主要是指生成Voronoi diogram時先生成其對偶元Delaunay三角網，再通過做三角網每一三角形三條邊的中垂線，形成以每一三角形頂點為中間點的多邊形網，如圖1，是用對偶生成法生成的Voronoi diogram。

二、增添法
增添法生成V圖的基本概念是：假設平面上原有n個點（生成元），已生成了Vn圖，現在增加一個生成元Pn+1，這時生成新的Vn+1圖。由於Voronoi diogram的特性，加入一個新生成元只與新元所在Voronoi多邊形及與i相鄰其它Voronoi多邊形“迎向半邊”有關，與這些多邊形的 “另半邊”無關，也與除它們之外的其它生成元的Voronoi多邊形無關。

三、部件合成法
部件合成法是指把生成元點集分為若干個子集，並且這些子集的並集必須為生成元點集，為避免不必要麻煩，這些子集相互的交集盡可能小或為空集φ 。先對這些子集生成子V圖，然後把這些子V圖合併，修正其相互影響部分的Voronoi多邊形，從而得到全生成元點集的V圖。

栅格生成Voronoi diogram方法

一、數學形態學距離變換法
這方法主要如前第七章距離變換中所述
二、地圖代數的Voronoi diogram生成
地圖代數Voronoi diogram生成方法可以處理一定尺度空間下全部點、線、面實體，此方法理論上嚴密，算法簡潔、高效、精密，並已成為實用化的技術。這種方法可以很方便地推廣到三維及多維。
三、有障礙空間的V圖生成
對於有障礙物的地理空間，採用顧及了障礙的歐氏距離變換，其餘方法和步驟均同。
四、Bimedial圖生成

Voronoi diogram意義和應用

Voronoi diogram意義
1. Voronoi diogram特性
voronoi多邊形圖由點集生成擴展為由點、線、面集生成後，Voronoi diogram特性就變為以下三個：
（1）每個V多邊形內有一個生成元；
（2）每個V多邊形內點到該生成元距離短於到其它生成元距離；
（3）多邊形邊界上的點到生成此邊界的生成元距離相等；
（4）鄰接圖形的Voronoi多邊形界線以原鄰接界線作為子集。
2. Voronoi diogram是空間鄰近關係客觀、全面、準確的體現V圖給出了鄰近的準確量度。鄰近決定於空間尺度,是一種幾何關係,而”鄰”是一種拓撲關係,兩者不一樣。複雜的連續函數內插要在鄰近點間進行，Voronoi diogram給出了主影響元、鄰近影響元，提供了優良內插方法的優秀環境。
3. Voronoi diogram、障礙Voronoi diogram、廣義Voronoi diogram的多邊形邊界提供了點、線、面全形態，障礙、非障礙完備空間，廣義加權距離的等距線、等比線、等勢線等具有嚴密數學意義且極廣泛使用價值的軌跡線:例如,它在等高線中就是半距、1/4距或n/m (n,<=m)距等高線,在交會線中便是角平分線或彎曲對稱軸,在封閉圖形中便是中軸線或Bimedial骨架，而封閉等高線組中便是分水線和匯水線等地形結構線，…它實際上描繪了大自然幾何或者說地圖圖形幾何的輪廓。

Voronoi diogram的應用
一、最近鄰近查詢
二、障礙空間上優良內插方法
三、廣義對稱軸線的解算
四、空間結構

學習要點
1. 從Voronoi結構所脫胎的計算幾何來看，V圖是對平面n個離散點而言的，它把平面分為幾個區，每一個區包括一個點，該點所在的區是到該點距離最近點的集合。 V圖是與距離緊密相關的，而距離值是由尺度所基本定義的。不同尺度，距離的概念不一樣，數值往往也不一樣，因此不同的尺度空間，有不同的Voronoi diogram。

2. 掌握矢量和柵格情況下的各種V圖生成方法。理解什麼是Bimedial圖，並了解其生成方法。

3. 理解V圖的特性，了解各種V圖的應用。

Resource: wuhan university_school of resource &environment science

創意的社區運動

2008-12-26T15:05:00.000-08:00

在台灣, 近十年來人們開始意識到都市生活及社區運動在人的尺度下作都市改造運動, 稱作" 社區總體營造" , 每每總覺得像是一成不變的" 辦活動" , 假設社區增加了活動便增加彼此互動.但社區運動是否可以多一點創意, 為生活多一些色彩. 何妨參考看看荷蘭人如何想這事的, 自稱是創意人的建築師們, 大家共勉........

Het Blauwe Huis (The Blue House)
The Blue House (藍屋) 為規劃以外的設計需求
The Blue House is referring to a blue screen; the empty screen used in shooting films when the background is put in afterwards. You could say the blue color of our house refers to a not yet existing setting… IJburg will be colored in. Word for word.

The Blue House (藍屋) 好比電影拍攝的藍幕，方便日後再加入背景；屋子的藍色彷彿是未完成的背景，有待一點一滴地為IJburg添上色彩。

Facts and figures:
Duration: 05.2005–12.2009
Location: Villa in Housing Block 35, IJburg, Amsterdam
Participants: 41 during the first year
Visitors: 10,000 during the first year
Number of events: 50 during the first year

一些有關The Blue House計劃的數字：
計劃時間：2005年5月至2009年12月
位置：阿姆斯特丹IJburg第35座一所小樓房
計劃參與者：首年共41人
參觀者：首年達一萬人
節目數字：頭一年間舉行共五十個節目

In 1996, the Amsterdam City Council decided to proceed with the construction of IJburg, a residential area on a cluster of manmade islands. Set for completion in 2012, the new district will provide 18,000 dwellings for 45,000 residents. Typical of a new habitat like IJburg is that the entire project is devised in the conference room and on the drawing board and in this process, nothing is left to chance. But some qualities and elements, such as a history – a social and human history – stories, life and a beating heart, must grow and cannot be planned on the drawing board or built by a contractor. Today, the planning methodology of IJburg, which created such rigorously regulated, zoned expansion districts, has attracted much criticism.

在1996年，阿姆斯特丹市政府決定動工在一群人造島嶼上建立一個往宅區，名叫IJburg。計劃預計在2012年完成，將為四萬五千名市民提供一萬八千個居所。與大多的新社區一樣，IJburg整個構思都在會議室及工作枱上完成，一絲不苟；問題是一些質素方面的東西，例如歷史 (社會和人的歷史)、故事、生活和活力，卻只能培養，而不能靠規劃和建設促成。IJburg的強政勵治式的規劃在今天備受批評。

At artist Jeanne van Heeswijk’s initiative, Het Blauwe Huis [The Blue House], situated at the centre of Housing Block 35 on IJburg, was taken off the market for a period of at least four years, to establish it as a house for culture and research into the development and evolution of its history and experimental communities – a spot that cannot be regulated within a living environment planned down to the last millimetre, a place for the unexpected, uncontrolled and unplanned, for exchange and dialogue. Van Heeswijk invites artists, architects, thinkers, writers and scholars of various nationalities to live and work in Het Blauwe Huis in time modules they decide. They are to actively enter into a dialogue with one another, with their fellow IJburg residents, and with the public. Their assignment is to make a connection to their world and the world surrounding the house, which must be communicated in a visual way. By actively involving others to their work, they create a cultural infrastructure around the house, with a continuous exchange between the inhabitants of Block 35 and the rest of IJburg. Because of its position on IJburg, Het Blauwe Huis is the ideal platform for research into how a new district takes shape and the way in which people go about using, appropriating and changing the public space as well as how a cultural history comes into being. Block 35 is one of the first finished sections of IJburg. Het Blauwe Huis can therefore follow the development of IJburg and this new community up close. This combination of location and a particular moment in time, coupled with the opportunity to be temporary residents of IJburg, offers participants an ideal platform for studying, acting on and co-designing its public space. By describing and simultaneously intervening in everyday life in this area, Het Blauwe Huis facilitates the acceleration and intensification of the process of developing a cultural history.

在藝術家Jeanne van Heeswijk所發起下，位於IJburg第35座的中心的一座三層高樓房，在至少四年間暫不出售，而變成The Blue House──一所集文化、研究及發展社區歷史、以及實驗社區的中心，一處在嚴謹規劃框框以外，充滿驚喜、交流對話的地方。Van Heeswijk邀請了來自不同地區的藝術家、建築師、思想家、作家及學者自由到The Blue House居住、工作和互相交流，並與IJburg居民和公眾對話，目標是要將他們的思想世界與IJburg的環境連結起來，成為可見的溝通。透過公眾的參與，他們在The Blue House建立了一項文化機制，令第35座的住客和IJburg居民交流不斷。The Blue House因為身處IJburg的中心位置，成為公共空間實驗和孕育文化歷史的理想平台。而且第35座是最早落成的區域，正好見証著整個IJburg的發展。天時地利的情況下，再加上進駐文化人的影響，The Blue House成為媒介，令參與者可以學習重塑公共空間，發展自身的文化歷史。

At present, the members of the Housing Association for the Mind are: Yane Calovski, Dennis Kaspori, Hervé Paraponaris, m7red, Nicoline Koek, Silvia Russel, Marthe van Eerdt, Rudy J. Luyters, Cheilk papa Sakho, Barbara Holub, Paul Rajakovics, Orgacom, Joost Grootens, Marianne Maasland, Marga Wijman, Jeanne van Heeswijk, Marcel Möring, Inga Zimprich, Community Museum Project, Tere Recarens, Carel Weeber, Wilfried Hou Je Bek, Daniela Paes Leão, Amy Plant, Ella Gibbs, Jo van der Spek, Igor Dobricic and Johan Siebers.

至今，The Blue House的成員包括：Yane Calovski、Dennis Kaspori、Hervé Paraponaris、m7red、Nicoline Koek、Silvia Russel、Marthe van Eerdt、Rudy J. Luyters、Cheilk papa Sakho、Barbara Holub、Paul Rajakovics、Orgacom、Joost Grootens、Marianne Maasland、Marga Wijman、Jeanne van Heeswijk、Marcel Möring、Inga Zimprich、民間博物館計劃、Tere Recarens、Carel Weeber、Wilfried Hou Je Bek、Daniela Paes Leaõ、Amy Plant、Ella Gibbs、Jo van der Spek、Igor Dobricic 及 Johan Siebers.

Parade der Stedelijkhied (Parade of Urbanism)
The process of building such a city extension is slow. As members of the Blue House, architect Dennis Kaspori and Van Heeswijk initiated the project Parade of Urbanism. Through small interventions in the public domain this project aims to create instant urbanism in IJburg. Responding directly to the needs and difficulties of fellow residents of IJburg pioneering the new territory, and through collaboration with them, Van Heeswijk and Kaspori catalyse commonly slow processes. In these areas of development, like Vinex-districts or urban renovation areas, people are always waiting for years for things to come. Here in IJburg the supermarket was still in a tent and a neighbourhood community centre is not available until 2008. They picked up on this by creating some of the things that are needed, in a fast and playful way.

都市生活的行進
要一個市郊變成真正的城需要漫長的歲月。Dennis Kaspori和Van Heeswijk以The Blue House成員的身份發起了《霎時都市生活》計劃。透過介入公共領域，與居民合作，希望針對他們的需要和困難作出迅速直接的反應，令本來緩慢的過程加速。

Some examples:
Under the title Bloemen voor IJburg (Flowers for IJburg) a flower stall was put in front of The Blue House on Saturday’s. Nicoline Koek, a street trader from Zeeburg (larger city borough of which IJburg is a part) wanted to start a flower stall on IJburg. When asking for permission, it turned out that the city council had not done a street trade regulation for the island yet. Because of the eight-square-metre in front of the house being private ground, Kaspori and Van Heeswijk could offer this as a trading space.

例子一：花販Nicoline Koek想在IJburg開設花檔，但市政府卻尚未為該區的街頭小販立例。解決方法是Kaspori與Van Heeswijk讓她在The Blue House門前的八平方米私人地逢星期六擺賣。

In 2012, IJburg will house 45,000 inhabitants for whom facilities are planned. This means, however, that only in 2008 there will be enough children on IJburg to justify a Library. Marthe van Eerdt, who lives on IJburg and is a librarian, thought this was taking too long and collaborates on a children’s library that is operating every Wednesday. Later this inspired inhabitant Johan Bakker to create in collaboration with the Blue House an adult library in a glasshouse on the main square. The library functions on basis of exchange of books among inhabitants.

例子二：到了2008年，IJburg便會有足够數目的兒童去成立圖書館，但居民也是圖書館理員的Marthe van Eerdt卻急不及待，率先逢星期三在The Blue House開設兒童圖書館。後來Johan Bakker也在廣場的玻璃屋開設成人圖書館，大家以書換書。

Not enough inhabitants yet was also the reason why the planned opening of a neighbourhood restaurant was delayed. So the Blue house offered its space , some tables and chairs and almost immediately in collaboration with Stichting Voorportaal, Stichting Dienstverlening and Zorg IJburg a trial for the future restaurant was run on 13 Thursday evenings.

例子三：計劃中的餐廳也因為人口不足而遲遲未能開張，權宜之計是以The Blue House的現成空間和傢俱，在多個基金會的資助下試驗經營。

Together, Usha Mahabiersing, who lives in Block 35 and Pluk de Nacht organised The Blue House open-air cinema. They also aired the film Daniela Paes Leao made of the migration history of the inhabitants of Block 35.
And recently, in collaboration with Block 35 inhabitants, Hester en Peter van Keulen, The Blue House started a boat service so people could explore the waters in and around IJburg.

其他例子：居民Usha Mahabiersing和Pluk de Nacht聯合組織了戶外電影院，還放映了Daniela Paes Leão製作有關第35座移民的電影。Hester en Peter van Keulen最近與第35座居民合作，展開了渡輪服務，讓大家可以一遊隣近水域。

Jeanne van Heeswijk

作者簡介

Jeanne van HEESWIJK 女士荷蘭視覺藝術家
(有關網頁：http://www.jeanneworks.net)
Jeanne van Heeswijk 為視覺藝術家，致力於創造能與公共空間互動的社會環境。Heeswijk作品的獨特之處，在於它們強烈的社會參與性。她的作品刺激了文化產品的發展，又營造了嶄新的公共（集會）空間，或為既有的空間進行翻新。故此，Heeswijk 經常與藝術家，設計師，建築師，軟體發展專家，政府和當地居民合作，並定期發表演說，內容環繞社區重建和參與，以及文化產品等話題。

Community Museum http://www.hkcmp.org/cmp/001.html

<文摘>Difference in Kind / Difference in Degree

2008-12-20T17:35:00.000-08:00

>本文摘自 ATLAS OF TECTONICS by Reiser + Umemoto

We would say that classical architecture is like a game of chess. Following Gilles Deleuze’s analogy of the games of Chess and Go, architectural order are like chess pieces: they have a clear, fixed identity and a range of moves within that identity. Chess, finally, is semiotic. Any transformation beyond the prescribed moves remains in the realm of deviation, because in this system change can only be referenced in kind, by its relation to a fixed model. The manner of such deviation is limited to elaboration or deformation- in effect, mannerist and baroque versions of the original.

In contrast, our work operates at time like a game of Go, wherein each element has no intrinsic and stable meaning outside its contextual relationships. One strand in a meshwork, or one Go piece, is no different from another. Meaning is acquired in relation to the specific behavior and effects we are seeking in a given zone of a project. For example, the tension rods in a meshwork generate a column-like zone of structure that is at once structural and atmospheric. To the classicist, a column is a column and no more. Where the classic model deploys the orderly alternation of columns and inter columnar spaces(infill ornament), we deploy a continuous rod field with degree of greater and lesser density, the denser areas acting in a column-like manner, displaying column-like traits. These areas shade off into zones that act predominantly as ornamental screens. In this model, no clear distinction exists between ornament and structure, as neither occupied distinct zones.

>說明
Difference in Kind - They have a clear and fixed identity. In chess, each piece has its own specific rules that it must follow and its own particular characteristics. Similarly, classical architectural orders follow that same logic.
差異在“種類”- 他們有清楚確定的特性, 在西洋棋中, 每種棋有它特殊的規則必須遵守其特殊屬性. 相似地, 建築的秩序也遵循上述相同邏輯.
Difference in Degree - Difference in degree in contrast, has no intrinsic meaning outside of its contextual relationships. It is its relation to its neighbor that creates difference within the whole. You can find zones within the overall that display different characteristics. In the game of Go, every piece is alike, but it is how they are formed together that creates the game.
差異在“程度”-程度的差異則相反的都沒有內在的意義之外的上下文關係, 這是關係到其相鄰者，產生群體中個別差異的特質。您可以找到群體內顯示不同的特質。在圍棋比賽，每一棋子是相似，但它們群組而形成這個遊戲。

>應用
在建築設計中, 其形式幾何原則, 常用自然現象的邏輯關係類比或轉化. 此時, 便可以此種思考幫助歸納設計邏輯之關係, 並且可幫助思考相異(variation)存在之必然性.