Non@Cambridge

Timeline of Architecture Autonomy

2006-06-27T08:14:00.000-04:00

The aim of this project is to create a comprehensive mapping of an architectural ideology between 1968-1984. This period is not scholarly categorized in architecture history because all of the ideologies are mainly conceptual and unrealistic; instead it is considered an “unofficial,” so called, period of “Experimental Architecture: Autonomous Architecture.” The main objective of this self-referential architectural ideal is to create a uniformity of architectural experience using an “effect” of space and meaning rather than a physical notion of a building. Group of architects, led by Peter Eisenman, John Hejduk, Bernard Tschumi, Aldo Rossi and Robert Venturi, are discussed as figures that led to this major development in architectural theory.

Based on K. Michael Hays’s propositions, the mapping is engaged in a critical understanding of architecture as “cultural” and “philosophical” artifacts. By using time as a medium to represent the history of the ideology, five significant architects are mapped in the timeline in conjunction with “matters” that influenced their thoughts: philosophical writing (including theoretical essence of linguistic, semiotic and psychoanalysis models), architectural theories, buildings, architectural trends, and political and economical events. The product of the project demonstrates not only connections between architecture and the real world through events and intellectual dialogue, but also a vivid lineage of the architects’ quest for an architectural discipline

Follow the link:

Non's Slide Show!!!

2006-06-27T08:13:00.000-04:00

The presence of Mies van de Rohe's Architecture

2006-05-17T16:39:00.000-04:00

The presence of Mies van de Rohe's Architecture

There are multiple ways we can perceive architecture. It can be a building, a cultural artifact, or a product of civilization. Mies van de Rohe’s architecture transcends all of these classifications by emitting a transcendence which I believe can be captured by the photographic image. It is altogether fitting that the use of the digital camera can catch the elusive and evoke the history of the architecture of Modernity. For example, the framing of "parts" of the building and the surrounding brings the status of the Modernity to its summit: an energetic reflection of the tree on the glass wall conforms to the purity of the Modern ideology that allows the stability of the building to manifest itself in the transparency of its context. The simplicity horizontal and vertical frames of Crown Hall --like they were attached to each other with magic glue-- contracts the tectonic interpretation of architecture to the reflection of natural sky. The abstraction of lines denotes a Neo-Plasticist spirit in such a way that it takes us further away from realizing that this is "reality." For better or worst, the work of Mies should retain its presence in the absence of textual interpretation. It is at its best when one perceive the integrity of spatial organization by the subsequent will to look at it in a different light. The presence of Mies is not the presence of his building nor his architecture, but the work --conceptually-- of architecture he creates and what we --mankind-- perceive in an artistic sphere of timelessness.

Halmut Jahn's Civic Center

2006-05-17T16:36:00.000-04:00

Postcards from Oak Park

2006-05-17T16:30:00.000-04:00

Effect of Light, Scale, Architecture

2006-05-17T16:24:00.000-04:00

Eisenman House VI

2006-04-30T22:44:00.000-04:00

My gratitude to Professor Stanford Anderson for an opportunity to visit Peter Eisenman's House VI. I was disappointed by the smallness and boringness of the exterior of the house at first sight, but then when experienced the quality of light inside the house; I was intrigued by the harmony of everything: light, space, furniture, color, partitions and so on. I think what I always believe, an unlivability of the neo-avant-garde idelogical architecture, is not always right. The house is beautiful and the owners love it. I am very impressed!!

Mies in the Light

2006-04-05T18:29:00.000-04:00

Rem Koolhaas MacComick Student Center

2006-04-05T18:21:00.000-04:00

"On the contrary...I would propose that there are a lot to be said. Starting from
your subconscious choise to select a detail from Mies' building and a more out
of zoom pic from Rem's. What about the use of architectural detail? In my
opinion Rem totally vandalizes Mies. The connection between the two could be
established on the base of their phenomenal resemblance. Once you move closer
though, a vast gap appears...I find interesting this discussion, but you should
have something to say for beginning...What fascinates you between the two? Is
Rem really "critical" or is he a fine reproducer of frauds? It could be a great
discussion!!!"

Response to my message by Olga Touloumi, my intellectual friend in History and Theory program at MIT and a prospective Ph.D. student at Harvard.

Olga brings some light to my thought about what is the actual meaning of "Modernist." On one hand, we see Mies as a Modernist because the timelessness quality in his design, on the other, we see Rem in the same role as he always inventing the meaning of "Modern" through innovative design approach. This may sound naive as a speech given by a theory student, but I think, this is one substantial though that should not be hidden by the rhetoric of beautiful works and so on.

The Presence of Mies

2006-04-05T18:16:00.000-04:00

My visit to Chicago in March was amazing.Thanks to Professor Duke Rittironk for taking me around the city, without your support, I would not be able to take this wonderful pictures.

Wondering

2006-04-05T18:11:00.000-04:00

Gropius Dorm at Harvard, Gund Hall Graduate School of Design, Stirling's Sackler Museum and H.H.Richardson's Trinity Church

2005-12-11T23:19:00.000-05:00

Walter Gropius' House in Lincoln, Massachusetts

2005-12-11T23:16:00.000-05:00

NON@LIBRARY

2005-12-11T20:23:00.000-05:00

Animation Version of Non

2005-11-30T22:18:00.000-05:00

Boston's Architecture Tour (Again)

2005-11-20T14:12:00.000-05:00

Another opportunity for architecture tour in Boston, lead by Professor Arindum Dutta who happens to be my advisor as well. We went to several interesting places, Oh!! I just realize that it is more a Massachusetts Architecture Tour than just a Boston one because we also went to Gropius' house in Lincoln. Anyway, the trip was very nice as we had a chance to visit the cultural and traditional heritages of the people: architecture of the buildings as you like.

MIT's Infinite Corridor Miracle

2005-11-19T00:18:00.000-05:00

As viewed from a stationary point on the earth, the path of the sun through the sky is roughly a circle which moves north and south as the seasons go by. In mid-November and in late January every year, the circular path crosses the axis of MIT's Infinite Corridor, which runs a distance of 825 feet (251 meters) from the main entrance on Massachusetts Avenue through Buildings 7, 3, 10, 4 and 8. When this happens, the setting sun can be seen from the far end of the corridor. By analogy with Stonehenge, this phenomenon is sometimes called "MIThenge". (The same cannot be seen at sunrise because the other end of the infinite corridor is blocked by Building 18.)

Pictures

Here are three photographs of this phenomenon, the first from approximately a third of the way down the corridor on the third floor, and the other two from the entire distance on the second floor. Click for full-size versions.

What you'll see

As the sun becomes better and better aligned with the corridor the amount of floor that is illuminated goes up and up. Since the floor is very reflective this means that the reflected sun can be seen far down the corridor as the event approaches. The orange light reflected onto the ceiling is often striking. This phenomenon is visible for a week or two around the actual sunset days.
At some point, some portion of the sun's disc will be visible from the far end of the corridor. Which part of the disc will be seen first depends on whether the sun is crossing above or below the corridor. If the altitude in the table above is high, the sun will cross the upper right edge of the corridor as seen from the lower left. If the altitude is low, the sun will cross from the center left of the corridor and set below the hill.

The disc of the sun is close to the area of sky visible from the end of the corridor. Therefore if your timing is right and you get a good vantage point you will see almost nothing of the sky except for the interior of the sun's disc.

Observing this event depends strongly on atmospheric conditions. I think the best is a very red sunset. This decreases the total light intensity and makes it possible to see the corridor and the sun at the same time. If the sky is brilliantly transparent right down to the horizon then the setting sun will be too bright to look at. When you use a filter to save your eyes (see below) you won't be able to see much of the corridor.

The period of time during which the sun can be seen from the corridor end is quite short -- no more than two minutes, and only as long as that under ideal conditions.

Theorists in Action

2005-11-18T16:56:00.000-05:00

Theory is Dead?

2005-11-18T16:51:00.000-05:00

Proposal
Non Arkaraprasertkul
SMArchS-HTC (MIT)

The debates between theory and its dialectical relationship with the design have influenced provocative thoughts of architecture throughout the decade. From the age of industrialization onward until the late 20th century, tension of modernity, rooted in rapid changes of the society, had inevitably tied architecture with theory. Without the existence of the idea of theory, one could not even speculate that theory has run its course. Theory allows people in that time the possibility to posit and intelligently discuss such propositions however untenable they may be. However, the turn of the century marked the significant conjunction of the thoughts. Several vanguard architects seek their way out of the theoretical regime by regarding design an autonomous role that intuitively grow from great minds of the designers, rather than taken theory as a point of departure for any further developmental process of design. The recent debates in an apparent decrement of the presence of architectural theory, raising an alternative approach by these enthusiastic young minds, have become very critical in the current architecture studies. Whether there is still a place of theory in schools of architecture, such MIT, and the influence of theory upon contemporary architectural practice is still an important topic for the profession, the question is on the basis of “is theory relevant for today’s architecture or it is an enemy of innovation?”

Boston Celtics Games

2005-11-13T14:47:00.000-05:00

Trip to Lowell

2005-10-30T13:03:00.000-05:00

Wondering

2005-10-05T17:47:00.000-04:00

It might be somehow the nomad feeling that I turn this blog to my personal photoes organizing page.
Well, it is a thought though,but candidly, I want it to be a place where we communicate and talk about certain things that irritate our sense of curiosity, sense of pleasant stimulation and sense of people interaction. I sat down today and worked on my project for a while, thus took self-potrait with my camera phone. I was wondering and don't actually know what to do!!!

Non A

There's things that have changed and there's things that never change.

2005-10-02T18:33:00.000-04:00

There's things that have changed and there's things that never change.

Look back to the year 1998, the first time I was in the US, I was so young and probably as enthusiastic as all a boy who was going to explore the outside world for the first time; a start of the great journey. Then, things came and challenged him, and he experienced and learned it. I look back to the memories and things I have and I feel like I am quite some distances away from that time. But do things change? or do I change? The questions are not to be answered, but rather be kept and thought of as a crucial process of learning. Environment is a friend of mine, knowledge teaches me how to understand things that surround me as well as are surrouned by my visions of truth, my visions of forwarding-looking to a better understanding of this place where my feet are on.

Non A
Tang Residence Hall

Architecture Schools in the US

2005-09-27T01:54:00.000-04:00

Architecture Schools in the US

I am trying to find all the mails and documents, regarding my study about architecture schools in the US, for you: but it turns out that I might have deleted them all or have placed it somewhere in the external hard drive. I'll try to find it some times this weekend.

Anyway, just want to give you what I remember from all the information I have got. Because I am here at MIT, somehow, with a research fellowship, I personally chose school mainly because of both academic potential and the actual resources for research and study that we can actually access to at the school, which I think most of the research scholars do the same. MIT fits me because its strength in HTC program. As Yung Ho mentioned, I think MIT is the only school in the US that actually has History and Theory program as an individual discipline that rigorously focuses on the area of study. Schools like GSD or Princeton don't do that; they employ academic staff to teach HTC courses but don't really have them work in a particular group of research like us.

This issue actually has two sides. Because what really makes GSD or Princeton a well-known 'design' schools is that they know how to incubate students with applications of theory, together with practice. I audited several introductions of courses at GSD last week and I did notice that all the courses, mostly theory courses, tend to benchmark students with contemporary concept and theory of architectural design and that make it very easy for students to comply their interest in theory to design. While MIT is mostly focus in a contemporary discourse of theory in a philosophical manner, GSD transcends theory to students' work, and this acquisition lead to different products: research paper by MIT and a design work by GSD.

I am not convinced that what GSD does is the best way to deal with presence of architecture, but it seems to me that critical understanding is more applied and more comprehendible when it deals with concrete design as a product.

So approach of each school is different. Let me do the summary:

GSD and Yale, like most of design schools in the US employ design approach with application of theory, mostly contemporary up-to-date seminal theory and thoughts (because some are too broad and to vague to be called 'theory', it is more like a trend or fashion). I would also add Rhode Island School of Design and Penn in this category

MIT, Georgia Teach, Carnegie Mellon, Cornell service tectonic and practical approach, they will mostly deal with 'approved theory', challenging existed theory than fabricating the new fashionable one.

Columbia, UCLA, Pratt, Parsons deal with anti-conservative thoughts of architecture. Computational concept has been blended to an idea of architecture as a culture of revolving imaginary design. These schools don't talk architecture anymore; they talk politics of space, tangible or intangible visual perceptive distribution and so on.

Princeton, Cranbrook and Cooper Union, as they were influenced by artistic assessment, as they all were part of art school before actually established themselves in architecture notions, seem to produce architectural designer, not an architect. What I mean by the word architecture means a lot more than just a science of building in term of art, it means everything that is constructed by a foundation of thoughts, leveled by broad idea of intellectual integration and topped up with certain aspect of progression. Artistically oriented, the schools are, students will be give extreme liberal concept of design to work with.

Lastly, because if I keep typing this mail will never end, the person who is conducting the program, known as chair or head, is visually a very significant factor. Penn once attracted all the best architecture students in the world because of reputation of Lou Kahn and Bob Venturi, the same as what made GSD very modernism aquainted during Gropius' era, or Paul Rudolph's period at Yale, Hejduk's modern transformation at Cooper Union, Tschumi's role at Columbia and so on. The chair is the one who work on assigning the 'main approach' of the program, and also the one who works on seeking the right man for the right job.

I asked so many scholars in the field, they all have quite the same perspective about schools like GSD as described above, but, frankly no one can really tell me what do they think about 'architecture at MIT'. The image of our program is so fuzzy. Stanford Anderson's role as a head of the department for decade excelled the role of HTC program, but apparently not of the design program. Anderson is a great theorist, but he deals more with history, than a proposal for future utilization of theory. Tschumi was a theorist as well when he was the dean of Columbia Architecture School, but his conceptual proposal stood out as a provocative ideas of new dimension of architecture and it was regarded seminal process of design; and that made Columbia stands out in the contemporary stage of architectural design.

Hence, having a theorist as a chair of the program is an ideal for a research drive, but not for a design. Stan Allen, Robert Stern, A. Vidler, Sylvia Lavin, Toshiko Mori are widely recognized in the design arena, their appointment nurture and foster advanced movement and direction of the school.

The good example is by asking you this question 'how do think about architecture program at Penn and Berkeley?' The answer is that the images in design discipline of both schools are as blur as ours, why?, The answer is because Detlef Mertins is a pure theorist, same as the one at Berkeley.

I believe Yung Ho is not a small name in the design stage; I am really excited to see his move for the next step. I don't know if this information can be any help for your research. I particularly like discussion about, please don't hesitate to let me know if I can be any help.

Have a nice weekend,

Bests,
Non

Tang Residence Hall
MIT
September 2005

“Arena of Understanding for Everyone”

2005-09-26T18:37:00.000-04:00

“Arena of Understanding for Everyone”

Thai architecture is a function of its politics. Since the country’s process of internationalization during its period of political revolution and constitutional reform in the mid-twentieth century, traditional Thai architectural design has shifted towards modern styles, which integrates global technology with declining consideration of cultural and local contexts. The character of Thai architecture shows more of the imported “Western” elements than the rational Thai abstract applications. This causes a dramatic decrease in intellectual involvement of Thai architects from the creative dimensions of contemporary Thai architectural design. I have found this to be a ‘crisis’ that will result in the regression of architecture in Thailand. And as a Thai scholar and a world citizen who seek role of architecture is in a need of clarification, I am endeavored to achieve the meaning of ‘Architecture’ in Thai context.

I take my purpose of being at MIT as an example of my investigation through history and theory of architecture. The crisis of identity seems to occur everywhere. As stronger cultural and traditional characters of the nation are, the result is likely to be more severe, because of what I call ‘problem of response and admission of the radical change’. Globalization makes our communicability by mean of exchanging ideas a lot easier. Architecture, as I do not want to particularly focus on in this paper, is part of cultural dynamic that, somehow, occupy itself in history of human kind. The provocative issue is that ‘can the Eastern perspective arouse Western thoughts?’ This question is as equally contentious as what theorists and practitioners have been debated on ‘paradigm shift in architecture’, which I am convinced; East-West issue is paradigm. The perspective of the ‘East’ and the ‘West’ are most likely to be seen as a combined, mutual, role that is forced to transcend its principle task of understanding. I think that the solid division between them should be disguised. Tradition must be protected and preserved, in the context of globalization. Technological advancement and method of modern thinking of the West, that transform most of our daily life style throughout the world, should be taken into account with cultural role of the East, that, somehow, look upon more in reverence to wisdom of nature and aesthetic of tranquility. The learning of this collective and united comprehension will result in a physical and contextual design of everything, which will help establish the world as an ‘Arena of Understanding for Everyone’.

Architecture itself and its history are controversial –one can see art of building science, one observe engineering aesthetic, while one acquire nothing at all—but it is what makes the study very enthralling. Architecture deals with almost all the disciplines. I can see my work is being unfolded by tracking down how each consequence of history was being written within interdisciplinary opportunities offered by MIT. My main study objective is to acquire a critical understanding of contemporary architecture and to engage in consultation through design. This objective is based on my belief that design solutions are best achieved through the approach to architectural design as an outcome of history and its controversies. I am convinced that research will show how modernism in architecture has been propelled by a series of individual initiatives taking place within a general milieu of the twentieth century and the ideological impulses that have animated it. My study will also examine stages of design progression through which modernism has evolved and how architects in Thailand have departed from the norm.

Since my study objectives are based on critical knowledge of both Thai and Western-influenced contemporary architecture, I feel that I can stretch the boundaries of Thai architecture and at the same time honor its quintessence. Tradition must be protected and preserved, in the context of globalization. The solid foundation and profound appreciation of Thai architecture, which was my specialty in my undergraduate education, will serve as a point of departure for negotiating the intertwining perceptions of “the East” and “the West”.

MIT itself is a very diverse institute. Advantage of being a magnet school that attracts intellectual minds from around the world makes it so distinguished, and should be considered as a crucially significant part of seminal form of development. Understanding difference of culture will foster changes in the way we perceive ourselves from a narrow shell to a panoramic view. Admitting variety of scholarly points of view will engage in a role of developing this idea. To look at Thai Architecture might not be interesting to everyone, but to look at how western point of view influenced architecture throughout the world is deliberately a critical issue. It will nurture knowledge and incubate the transformation of thoughts, from within ourselves to a reaction to the universe: to see the world the way it actually is, not the way we believe it is. Though we might not be able to come across those idealistic thoughts –ask Plato and Kant--, but at least we know that we are lifting our foot up the ground and willing to step forward.

Some photoes from Philladelphia

2005-09-20T23:57:00.000-04:00

Fulbright Memory and Speech at the Ambassador's Residence

2005-09-12T00:59:00.000-04:00

Good Evening, His Excellency Ambassador, distinguish guests and my fellow fulbrighters:

As I listened to very impressive speeches in both languages from Mr. Ambassador, I am very excited to give this speech. Let me take this opportunity on this auspicious occasion to express our sincere gratitude on behalf of my fellow fulbrighters.
First of all, I would like to thank the interview and screening committee for asking us very tough questions that brought the best out of all of us. Secondly, The Fulbright alumni association, we are grateful for your valuable insights into graduate life in the US. We are eager to be part of this prestigious alumni association. I personal have to thank Professor Dr. Vimolsiddhi Horanyangkura (the dean of Faculty of Architecture and Planning, Thammasat University) for encouraging me to apply for the scholarship and has been an invaluable help in writing a prominent recommendation that got me to MIT. Also, our P’Tip (Ms. Porntip Karnjananiyot, TUSEF Executive Director) and P’Da (Ms. Wanida Kritchanaruch, TUSEF Senior Program Officer for Thai Grantees) and all Fulbright-Thailand staff that have been assisting us tirelessly, thank you very much indeed. Without whom, none of this would be possible.

Let me give our perspective toward the Fulbright program. Upon our graduation, Fulbright is a natural choice for an academic scholarship. We are here today because of our collective belief in the importance of cultural and educational exchange. We’re honored to be cultural ambassadors of Thailand to the United States. We shall do our utmost to facilitate stronger relations between Thailand and the United States. Opportunities like theses come once in a life time and we will do our best to seize the day. Once again, our dearest gratitude for this award.
To be given this Fulbright scholarship is about being awarded an opportunity for a search, as we are all searching for the same thing, the meaning of life and meaning of ourselves. Life is a path and we will keep searching. I believe that wherever I go or whatever I will become, I always have the Fulbright by me, thank you very much.

(This is the speech I gave at US's ambassodor house on behalf of Fulbright scholars from Thailand at the official Thai-Fulbright scholars reception)

Another Fulbright get-Together!!

2005-09-03T17:56:00.000-04:00

Another Fulbright get-Together!!
Finally, Ajarn Chiwat from Silpakorn University, who is also a Fulbright scholar under University Teaching Staff program at Columbia University, came to visit me in Cambridge. And actually, we had a great opportunity to meet two excellent scholars from Thailand. Wen and Golf are graduate student at Harvard Law School, within this two years their name will belong to Harvard LLM. wall of fame ;) Anyway, it was a great time that we had together, I will definately come visit Ajarn Chiwat soon too!!

Non A
Tang Residence Hall

2005-09-01T21:07:00.000-04:00

The Boston City Hall is one of the veryfirst effort to bring Le Corbusier's idea intoAmerican's vision. As you might have heard about the matter that influenced the trend of modernism and thetrend that actually alter our way of thinking towards'machine-like' asthetic. The City Hall was made of apure, brutal and unfinished concrete, emphasizing its gigantic formal expression in the way people woulddefinately recognize its existance by just standing infront of it. It's called 'expression' architecture. In the era of industralization, it was a need to disclose manners of decoration and concealed values ofmaterials. It is convinced that Boston City Hal lachieved that in term of following what the greateuropean like Corbusier had stepped on.

Non
Tang Residence Hall

Here i am!!

2005-08-31T09:24:00.000-04:00

One of the world's famous academia and photographed building, the Killion Court and MIT Great dome. I am finally here with a lot of challenge to come. I have been here several years ago with my friend (First picture was back in 1998 and the other was just yesterday!!). This is a re-visited, but it will be much more longer than the previous visit. I am enthusiastic to take the challenge!!

Non A
Tang Residence Hall

See you Phillie!!

2005-08-21T00:39:00.000-04:00

Dear Phillie, my friend,
I am sad today because I know I have to write this letter to tell you that I am leaving.
It is a true pleasure visiting you. You know? I went to many places that you recommended me in downtown today with my friend, Alan. He knows you very well as he smoothly guided me through so many places that you told me they'r goin' to be a bit hard to find. It was fun. I also like your university, UPenn, it is truly one of the most beautiful city campuses in the world. I am sure every of its corners, contain persistent memories. Thank you, I am glad I have got to know you. I hate to say good bye as much as I want you to know that I don't want to leave you at all. The time we spent together is, somehow, too short but it was truly meaningful. I gain so many things from you, from your friends, from your colleagues and from lessons you gave me. Thank you, Phille. I will come back to visit you, my friend.

Non
Harrison College House
August 21, 2005

2005-08-17T21:24:00.000-04:00

I have been in Philadelphia for almost two weeks now.
It is, indeed, an interesting place.
I have to admit that I like the city very much.
I have been to some recently, with the group of scholars and by myself.
ELP@UPenn took us to Phil Museum of Arts recently, it is a true pleasure to look at those wonderful Van Gogh, Monet and Duchamp collections. (I can't believe that I did look at Van Gogh's proclaimed 'Sunflowers' that close)
The Fisher Fine Art Library, by F.Furness, is one of my favourites.
I like the feeling of the chapel-like reading hall. Time cruelly flies in this beautiful sanctuary space. I went up to the second floor, where all NA category book are, and read in that room for hours everyday. The light that smoothly comes into the room makes it my favorite working chamber krub.
We all, Fulbright scholars, live in a 24-floor Harrison College House by 39th and Spruce. It is walkable to Fisher and Bookstore. I visited Kahn's Richard Laboratory once, but I will have to do it again before I leave. It is going to be sometimes to come back to Philadelphia again, so I must use all opportunities I have wisely.

August 17,2005
Harrison College House, UPenn
Non

Captured moments and images

2005-08-17T15:29:00.000-04:00

Captured moments and images of these two amazing works of architecture. As you can see, the detailed brick work of Fisher's Fine Arts Library is not only amazing when exposed to the light and darken by shadows, it also reveals memories and what experiences it has been accumulated through space and time. The Meyerson Hall is built to service these presense. It simplicity does not interupt the presense of the Fisher's. Moreover, it gives power to the Fisher's by cralifying the structure through philosophy of 'Modern Architecture'. What Fisher's conceals, Meyerson discloses. It is one of my favourite two buildings that stand next to each other. August 17, 2005: Harrison College House, UPenn

2005-08-17T15:15:00.000-04:00

I was thrilled with the presence of architecture of Frank Furness, the Fisher Fine Arts' Library. It is just opposite to one of the most intellectual school of designs in the US, PennDesign School at Meyerson Hall. The red Calder's sculpture is very remarkable and it stands just at the right place.

Hey, I finally have my own blog ;)

2005-08-16T20:52:00.000-04:00

Hey,
After using other things, rather than this useful blog, to publish what is going on in my life for a long time, I have found the good way to do it! This blog is very helpful and very eay to use. I am not their promotor, but the interface is very easy to comprehend, really. Ok, so please check this block up once in a while than, and please keep me updated ;)
August 16, 2005
Harrison College House, University of Pennsylvania

Non