Lu Cong
Nobuhiro Nakanishi

Sea Hyun Lee

Fred D'Aguair: Bloodlines

Scene: train station - last calls. Camera searches through the crowd, couples touching, talking, sees glimpses of hands clasped, tickets, kisses, children and last minute snacks. Reaches a pair of hands that aren't touching, hanging loosely side by side. Clearly a man-and-woman's from size/shape.
Camera rises, following the gap between their bodies. They do not touch anywhere. Camera reaches faces, including in the frame the right eye of the woman, the left eye of the man.
Pan out and up - can see both man and woman easily, can see the crowd is thinning, ebbing about the man and woman. The crowd infront and around them strobe in and out of reality (edit using two scenes) there is no other sound apart from the sound of the train (in both scenes) and the crowd when they are in the cut. Crowd disperses (take at least a minute, man and woman should be discernable), more announcements, same final call for the train. Cut to an accute side/frontal shot of the couple, woman's side. Camera slides away, positioned low so that the view looks up at them (Rebecca-esque). Announcement. Whistle to close doors.
Man walks briskly to the train, approaching into the camera, then past the camera. Tense expression. Until he is out of sight the camera cannot see the woman. Train pulls out in the peripheral vision of the camera.
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Finish:
(i) Camera closes in, but before getting too close the woman turns and walks away. Camera follows at a constant distance. She begins to strobe in and out of reality as the crowd did.
(ii) Remains still, camera approaches to a bust shot, her eyes are above the center line of the screen. Her throat convulses.
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Music possibilities:
Entrance guitar chords from 'Be Somebody' by Kings of Leon.
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Her: Short hair pinned back. Trousers, high neck jacket.
Him: unusually thin. No coat, thin shirt.

Down, down, down into the darkness of the grave
Gently they go, the beautiful, the tender, the kind;
Quietly they go, the intelligent, the witty, the brave.
I know. But I do not approve. And I am not resigned. - Edna St. Vincent Millay

Scandinavia and the World. 

Fig (i) - Photo House

Fig (ii) - Photo House

Fig (iii) - Photo House

Preliminary drawings for a residential property designed with the specification of a dark room.

The dark room is one level within a dark cement/stone central column that simultaneously acts as a holding core for the glass structure.

The bottom half of the core fits a bathroom (small deep bath - notion of 'standing bath').

The stair case wraps around the central column - a square play on a spiral stair case, leading up to the solar panels an porch (see fig. one).

Porch details: same stone as the central column, flat sun beds/futons - no railing.

Internal divisions are made using individual panel partition (see CE Omega 110) for light play.

Still very much getting to grips with SketchUp.

The cement backing of Keiji Ashizawa's 2 Courts House gives an idea of the core material (potentially a shade darker/bluer - still searching for a material).

Gives an idea of the 'solar pool' on the roof.

Designer

Yeohlee Teng
Sharon Wauchob
Josephus Thimister
GF Ferre
Chado Ralph Rucci
Phoebe Philo
Joseph Quartana
Buccellati
Thakoon

Model


Du Juan
Aymeline Valade
Codie Young
Kate King
Isaac Weber
Nettie R Harris