WHEN MY MOM TRIES TO CALL ME DURING FINALS WEEK
I’M LIKE:
AND THEN I’M LIKE:
It’s been twenty years since the demolition of the Kowloon Walled City. To mark this anniversary, the South China Morning Post has created an info-graphic that details the facts and figures of what life was like inside this architectural oddity.
For the best part of the 20th century, the walled city was like a glitch in the urban fabric of Hong Kong; a solid 2.7 hectare block of unrestrained city and the most densely populated place on earth.
The height of the Walled City rose with the rest of Hong Kong. In the 1950s, housing usually consisted of wooden and stone low-rises. In the ’60s, concrete buildings of four or five storeys appeared. And in the ’70s, many were replaced by blocks of 10 storeys or more. The site became chaotically cramped, with buildings so close to each other that in some it was impossible to open a window. (via)
(via banshee-hands)
Wings
Movement and interactive relationship with the body has been the most important element throughout my body of work. However through these works, I also started to explore the mechanical structure as a form. Mechanical structure becomes the most enjoyable form to me as it becomes complex yet remains simple and coherent. The contrast between metal structural form and natural feather, together with the repetitive and whimsical movements of fragile wings, provokes the imagination and evolves the intimate relationship between work and viewer/wearer. Although the recent series, segmented wings have been focused on the formal challenge to engineer an intricate movement that simulates bird wings, these works are intended to be a series of poems in which I develope my own formal language, interpret the nature of wings, create various structural forms with movements, and share the metaphor, imagination, humor, with viewer/wearer.
(via conjuringseed)
