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在 Astra 啤酒厂的旧址上建起的酒店，外墙采用纯铜贴面，待时日一久便会呈现绿色的人造沧桑感。内部采用大量的深色木料和黄铜，感觉很不错。 

在酒店17楼俯瞰汉堡 

Lev Manovich defined five principles for what he regards as "new media" in his work The Language of New Media (2001): 1. numerical representation, 2. modularity, 3. automation, 4. variability and 5. transcoding. Therefore he excluded film (regardless it's digital or not) as New Media. Even touchscreen is out of the list, since every piece of content behind the interface is pre-programmed, like a website in traditional way.  

I consider that the five principles can also defined the meaning of "interactivity". In fact many so-called interactive medium are lack of variability or random access. Most of them only have pre-programmed content, which are placed in a certain hierarchy and can be accessed simply through determined order of layers. 

A student of DFI, Benjamin Busse has won his Future Lion Award with an interactive campaign for Marc Ecko. The brief was: concept and design of an ad campaign for Marc Ecko, which promotes his roots and love for graffiti. His solution was to create digital Citylights, which consist of a LCD and a blue tooth interface. People got the possibility to access the citylight via the blue tooth interface of their cell phones through a simple interface (to choose colour and sprayer) and spray their own grafitti with the cursor of their phone. His work is a convincible example for transcoding - digital images "sprayed" by random passengers have both cultural and digital layers. The graffitis may be perceived by an individual as a visual representation of "spraying", but because the image is a file the computer sees it as a code that needs to be interpreted and displayed in a specific way. This human-computer interface is, as Manovich puts it, "a blend of human and computer meanings, of traditional ways in which human culture modeled the world and the computer’s own means of representing it."

John Ruskin 对我来说原本只是一面旗帜，设计史家在谈到英国手工艺运动时都要祭出他来。Alain de Botton 又经常提到他，而我真正读到他文字是《芝麻与百合》这本书。说是书，其实是他的三篇演讲稿。谈审美，谈生活，谈信仰。很难想象现在的听众们能受得了如此长的演讲！我能想象这位爵士在讲台前慷慨的模样。他用词精细，却充满激情。老先生竭尽全力地维护着自己的价值观，不厌其烦地教诲人去热爱生活，帮助穷人，信仰上帝。他态度和蔼但坚定，言之凿凿地阐述着审美也有对错之分。我欣赏他那股19世纪末英国文人的迂劲，可以花几个小时描绘一片叶子，也会在大庭广众前为美，为生活而振臂高呼。 

传统的上海小餐馆都很謙虛地称自己为“点心店”。其实除了包子小笼馄饨面条之外，还有各种小炒供应。中午12点，附近的住户和职员都涌进来，暖暖的蒸汽挡开了寒风，人人门前一碗面条呼拉呼拉地吸着，非常投入，仿佛一切思虑在此刻已不重要。听着三教九流用上海话聊着新闻，盘着股经，你会感到这样的人生很上海，很实在。

日本的设计师说的话都很平实。不懂日文，但在读原研哉和杉浦康平的书时，在看那些设计师的设计说明时，都能感到一股特有的气质。语气很恳切，而不故弄玄虚，这让他们的创意也变得内敛。

看大洋彼岸，东边不亮西边亮的戈尔总统正高举环保大旗让自己的公司拼命盈利，而早在1300多年前，虔诚的日本人已经与自然定下了盟约。他们真诚地认为，神是人类的协作者。在西方绘画中很久才得到发展的风景画，对日本而言却是一种古老的艺术形式。Daniel J. Boorstin（布尔斯廷）在《创造者》一书中将这种对自然的态度视为一种与西方“战胜自然”的道路相反的努力，并将其与“石头文化”作比，称之为“木头文化的胜利”。

此次在当代艺术馆的展览使用的媒介除了海报外，三组十分环保的设计载体成为主角：布手提袋、纸扇和包袱布。布手提袋被视作抵抗现代超市中的“塑料袋灾难”的有力武器，也是个极好的平面媒介；纸扇是最省能源的降温工具（还能减肥？）而扇面作为一个能随时展开的个人图形平面完全可以在当代得到更深入的发展；包袱布则是一个很日本的包装材质，设计精美的布料可以重复使用，又可以根据被包裹物件的形状设计出各种不同的包裹方法，让设计师与使用者都享有发挥创意的空间。

包袱布设计之一：Hibino Kodue

包袱布设计之二：永井一正

包袱布设计之三：原研哉