lightness

LightnessMémoire

Su Jung-Cheng

Table of Contents

About lightnessWhat is lightness?

Lightness in design

Longing for lightness

Lightness in nature

Light and lightness

Lightness and minimal

Lightness through a BirdIntroduction

A bird

The feathers

Conclusion

References

Bibliography / Image Index

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Knowing the meaning of lightness and how lightness is used in the design field would help to clarify the idea of seeing lightness as an approach

and celebrate the value of lightness. I will illustrate how I consider lightness as a virtue of design and how I would project it onto my future work.

Abstract

6

T he term “lightness” varies in usage but is differentiated from physical weight, such as “the lightness of balsa wood”. In other words, “light like

a bird,” as Paul Valéry wrote, “and not like a feather”. [1]

My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language. [2]

Under the concept of Calvino, we deem a design project as a story. To remove the weight from the structure of a story is similar to the process of strip-ping away the unnecessary material to give the product a clear, elegant visual appearance. Lightness is the appropriate translation of the efforts designers should strive for.

Despite the term “lightness” can be read in many ways, I will devote my essay talking about my idea of lightness in design. The concept of lightness con-cerns not only the physical weight or property of materials, but also relates to the visual appearance of structures, components, and even spaces.

What is lightness?

8

C alvino defines “Lightness, as the attempt to remove weight from the structure of stories and from language.” [3] Lightness in design might

be the notion of the perfect balance between aesthetics and function with elegant impression. It is a quality that comes from the form and economical use of materials.

From a designer’s perspective, I consider lightness to encompass both physi-cal and mental properties. I shall explain, from both perspectives, why I con-sider lightness as a quality rather than a defect.

Why are we so obsessed with keeping things flat?

At IKEA UAE, most furniture is made so that it can be flat-packed. Accord-ing to IKEA personnel, “Because we don’t transport air, storage and trans-portation costs are much lower. And, because IKEA buys in large volumes, we get big discounts that are then passed on to you.“[4]

It is obvious from an economic standpoint why lightness is so important to us. The world is flat; and with the increased frequency of people traveling around the world, mobility is at the essence of time. However, in Adriaan Beukers’s book, he criticized the absence of the word lightness in both economics and environmental economics to support his point of view that from the angle of sustainable economic development, lightweight materials and structures are of incredibly great importance.

If structures and products are light, and use significantly less energy and allow greater useful performance, then this also means that there is a reduction in the burden, or at least in the growth of the burden, on the infrastructure — not just roads, but the energy and water infrastructure too. [5]

Lightness in design.

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The Transportation of Chair Thonet 214

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I n Milan Kundera’s The Unbearable Lightness of Being, he questioned the concept of what we should choose, the weight or the lightness. I found this idea relates to my second thought about lightness. What is lightness besides the actual weight that an object carries?

It is very difficult to distinguish between weight and lightness in philosophy. I do not intend to define one trait to be more inferior to its opposite, as in light versus heavy, light versus dark, and positive versus negative. In fact, lightness is more about a choice, and it is more important to understand the balance between these aspects, learn to appreciate, honor, and embrace the balance achieved within the different characteristics.

There is a little story that shows how the idea of lightness could affect a mat-ter with minimum energy. In the 1960s, NASA astronauts discovered that their pens did not work in zero gravity. So like good engineers, they went to work and designed a wonder pen. It worked upside down. It worked in vacuum. It worked in zero gravity. It even worked underwater! And it only cost a million dollars! The crafty Russians used a pencil. [6]

As for a design object, I especially appreciate the chair described in Adriaan Beukers’s book: The Knotted Chair by Marcel Wanders. The chair is made by first macraméing the basic structure with a supple braid, especially wrought out of carbon (for the core) and aramid fibers. The result of the knotting procedure is a slack net that is drenched with plastic resin. For Wanders the chair is a successful achievement both in technical and concept. People are amazed by the fragile impression of the floating knots and surprised by its stiffness of structure. This interesting contradiction also contributed to its unique aesthetic.

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Marcel Wanders / knotted chair

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I found that there are at least three different senses for mankind. Seeing the lighter material as a technical progress: The main message of Adriaan Beu-

kers’s book is ”the lighter the better” which follows the preception of mini-malists’ designing concept “less is more”. Adriaan Beukers also mentioned the trinity essence of an object: shape, material, and process. Heavy material may be shaped into light objects. Constructing for lightness is a delicate mat-ter of harmony between material, shape and production process. [7]

The environmental need: On an earth that has become increasingly crowded, the balance between greedy consumers and goods can be reached by a design philosophy that is based on dematerialization.

In the seventies the US environmental economist Herman Daly used the metaphor of the ship (the economy) that was lying too deep in the water (the physical environment). Heaviness as a problem. Lightness as a challenge. [8]

The psychological needs: From centuries ago, man always has had the desire of flying. The flight of bird always represents the symbol of freedom. This unconscious desire to fly may be the outcome under the great influence of Newton’s theories. Here are some quotes that show how people were, and still are obsessed with suspension figures and levitation desire.

One might say that, in Newton’s theories, what most strikes the literary imagi-nation is not the conditioning of everything and everyone by the inevitability of its own weight, but rather the balance of forces that enables heavenly bod-ies to float in space. [9]

In Giacomo Leopardi ceaseless discourses on the unbearable weight of living, Leopardi bestows many images of lightness on the happiness he thinks we can never attain: birds, the voice of a girl singing at a window, the clarity of the air—and, above all, the moon. [10]

Longing for lightness?

15

W e seek inspiration from nature. In nature, there are full of delicacy and lightness examples teach us to make structures with minimum use of

material. [11] Lightness could be defined as the tension structure of a spider web which appears fragile but is indeed structurally strong. It seems to be very delicate, yet it is made with minimal energy exerted by the tension forces which are both lighter and stronger.

“We must realize that natural materials are in fact structures.” [12]

“Structure in nature suggests that there must be some fundamental principles and laws, an intrinsic force system, which can form the basis for the design of minimum inventory/ maximum diversity building systems” [13]

“Structurally a suspension bridge is like a spider web; functionally it is exactly the opposite.”[14]

Bees build honeycomb pattern because they’re busy being lazy. The honey-comb pattern can be perceived in the dried clay land as the result of cracking along the shortest distance. [15]

Lightness in nature

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L ightness can be defined by the way light is treated. The play of light is an important aspect for designers to remove the weight from an object in

terms of both weight and visual language.What is visual weight? The main visual weight factors I shall discuss are: Color, Contrast, Lightness/Darkness, Size, Density, and Complexity. [16]

If we see lightness as a factor of visual perception, it is simply hard to define an object’s volume and quantity when it is transparent. The easiest way to reduce the weight of metal is by having numerous holes on it. This also gives the object a semi-transparent effect. Transparency is defined by the amount of light transmitted through a material. Transparency also offers the sensation of freedom.

Color is another factor that contributes to lightness. Evidently, light and bright colors help with the expression of lightness by simply reflecting the most light and creating interesting effects. Above all, the brightest color would be white, if white is a color.

“It is ‘all colors’ and ‘no colors’ at the same time. This identity as a color that can ‘escape color’ makes white very special. If white is not simply a color, mightn’t we be able to understand it as functioning like a design or expressive concept?” [17]

“The mechanism of communication is activated when we look at an empty vessel, not as a negative state, but in terms of its capability to be filled with something.” [18]

In Kenya Hara’s theories, emptiness provides a space within which our imagi-nations can run free, thus the emptiness (white) is this potential. White deals with those key words in design like the notion of absence, silence and empty space. If we achieve the perfect relationship with white, we can be said to have achieved “lightness”.

Light and lightness

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“In the last few years I have been thinking about a design that would include natural phenomena and invisible elements such as senses, wind and light.

The ‘Invisible’, a special collection launched from Kartell, only leaves the sense as if seating in the air.” Tokujin Yoshioka explained. [19]

The presence of the object is quite invisible due to its high density of trans-parency. It creates the illusion of ‘floating’ which represents the overall defini-tion of Tokujin’s work.

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Tokujin Yoshioka / The Invisible

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The second example is the How High the Moon armchair made with ex-panded metal by Kuramata. Despite its massive size, one could still feel the sensation of floating because of the numerous holes on the expanded metal. This transparency almost makes this object immaterial. The shimmering, de-materialized surface resembles the pale, glowing moonlight and brings out Kuramata’s vision of a surreal and minimalist ideal.

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Shiro Kuramata / How High the Moon

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Ronan & Erwan Bouroullec / L’Oiseau

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Z en Buddhism teaches that one ought to become as light as being itself. Zen teaches one not only to find the lightness of being “bearable,” but

to rejoice in this lightness. This stands as an interesting opposition to Kun-dera’s evaluation of Lightness. [20]

I found lightness is minimalism because of the same process of eliminating all the non-essentials. Through this process, only the necessary stays and light-ness is achieved in terms of both weightless and ideal.

To reach the goal of being lightness is not an easy task. The efforts required to achieve lightness are usually quite heavy. It proves that lightness is not the synonym of vanity and folly or caffeine-free coffee, but the perfect balance of need and feed; the reunion of our inner nature.

Lightness and minimal

26

In Bruno Munari’s “How One Lives in a Traditional Japanese House?” he pointed out the simplicity, lightness and adaptability of a traditional Japanese house. He concluded by contrasting this sarcastically with the uncivilized dirty marble of Italian homes.

Of course living in a house made of paper and wood, one has to behave well. [21]

But if by chance one does dirty a door, with a few pence one buys a new piece of paper and all is spick-and-span again. [22]

How lucky we are, in comparison. Especially in Italy where our floors are made of marble which doesn’t burn, so we can drop our cigarettes on to them without even having to stamp them out, where we can slam our doors to our hearts content (otherwise they don’t shut properly), where our hands can swarm here there and everywhere and we can make crazy patterns on the wainscot with the soles of our shoes. [23]

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A Traditional Japanese House

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Chopsticks are used like tongs to pick up portions of food which are already prepared in small pieces. Chopsticks are considered an extension of one's fingers. [24]

The main concept of chopsticks is to cope with all changes by remaining unchanged. I think this accurately depicts the spirit of lightness in a very minimal way. One can eat any kind of food with chopsticks just by changing the way one holds them instead of having to use any other tools.

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Ways of using Chopsticks

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Lightness through a bird.

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“Il faut être léger comme l’oiseau, et non comme la plume” (One should be light like a bird, and not like a feather)

Paul Valéry [25]

M y analogy for lightness is a bird. Calvino describes lightness as “a verbal texture that seems weightless”. A piece of writing consists of words,

which can achieve the kind of lightness that Calvino aspires to, is just like a bird with its feathers. A writer could defy the weight of life through lightness of language just as a bird is able to against gravity.

In one of Munari’s essays, “Design as Art”, he described an orange, peas and a rose as though they were industrial objects. Pursuing the logic of produc-tion for purpose, along with Munari’s philosophy to ‘form equals function’; I decided to interpret the virtues of lightness by describing a bird as an object.

Introduction

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T his object is covered entirely by too many feathers to count. One can recognize it as an animal from its appearance and is able to tell easily

from the first glance that it has a head, a beak, two eyes, two legs, a body, and a tail. The bird seems to have more layers of feathers on both sides of the body and the color of these feathers appears to be more vivid. But when this object starts to fly, one would suddenly realize that these parts are the wings and they are made functionally for flying. However, one cannot fully understand its color. Although naming two or three colors of the bird is possible, there are too many gradient changes between the numerous feathers. All the feathers look very soft, gentle and are organized very neatly just like other animals’ fur. Therefore, one could deduce that the feathers have some functions of aesthetic in addition to heat retention.

The fact that the body of the bird shapes like a rough, compact sphere and yet weighs so light makes one wonders if it is hollow. Its two legs are kind of small by proportion but the claws seem to be very sharp and agile. This high-lights an interesting contradiction between its soft and gentle feathers and the sharp claws. Its beak is probably the second hardest part the bird has and it shares the same characteristics as its claws: being both sharp and agile. The tail has the longest feather of the entire object. This makes the tail almost like an axis of this object with its left side and right side of the body being perfectly symmetrical. One could infer that the tail has the function for keeping the bird balance when it flies. When the bird flies, it is almost like a performance, and it is the moment one get to clearly see its wings open like an adjustable fan. Sometimes, one will receive some fallen feathers after the flying performance. Consequently, one understands that a bird’s feathers do fall off just like the human hair. A feather has a very tiny straw in the middle with numerous fine fuzzy furs arranged symmetrically on it.

As far as one can gather, a bird is an animal that can fly, and virtually every part of its body is highly adapted to this purpose. Its shape and movement give a perfect example for the theory in design. It is ultra light while its com-pact body aids its flying function. If we consider it as an industrial product, the famous theory of evolution by Darwin perfectly explains the concept “form follows function”. The great variation in its feathers’ colors provides an alternative to satisfy the desire of customization.

A bird.

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“When mankind was still unable to fly, birds always were his greatest exam-ple. For centuries imitating them seemed the only way to reach for the sky.

Then, around the beginning of this century, someone got the brilliant idea of separation the functions of lift, propulsion, stability and control.”

“From that moment on inventors and engineers started to develop the air-plane structure by analysis and ongoing functional subdivisions: wings, en-gines, cockpit, cabin, windows, aluminum sheet, ribs and rivets. The current airplane structure I determined by what we were unable to do a hundred years ago. The process of specialization gradually made us drift away from the original dream.” [26]

The separated function is exactly like the numerous feathers of a bird. The feathers have the variation of form, colors, and function. To make a bird fly, one cannot ignore the combined power of feathers. To achieve the goal that makes all feathers harmoniously work together is the job of the designer. A bird flies with its feathers just as an object needs design to fight with its weight. If one separates a bird from its feathers, the bird would lose its ability to fly just as one cannot separate an object’s form from its function. Although a design was deeply considered, it would still seem to be elegant, and weight-less.

Every single functional object that we make evolves from a process that turns material into a functional shape, the inevitable trinity of technology. There is no shape without material and effort. [27]

In the case of a bird, design is the final fragment to make this object fly by choosing the right material and shape.

Calvino’s suggestion still works here; a designer should eliminate the unneces-sary elements and use clear, elegant visual language as an appropriate transla-tion.

The feathers

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Drawing of Leonardo da Vinci

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“We live in a world where there is more and more information, and less and less meaning.”

Jean Baudrillard [28]

“At this point we should remember that the idea of the world as composed of weightless atoms is striking just because we know the weight of things so well. So, too, we would be unable to appreciate the lightness of language if we could not appreciate language that has some weight to it. “

Italo Calvino [29]

I f there is an adjective to describe all my previous works, I would like to use the word lightness. I found myself constantly seeking for lightness in

terms of both weight and concept. In addition, I try to analyze my initiation for lightness. One of the reasons is that because of my current status as a for-eign student studying aboard, I cannot afford to have too many items around me. My foreign student status also makes me consider myself as a traveler instead of a local people. Everything I have in my flat follows the rules of lightness for being lighter and portable.

The strong impact of Zen Buddhism in Asian society also affects my practice of lightness. I was taught not to have too many things in my life because when one dies, one cannot carry with him any of his possessions to another world. Under this concept, the less one owns the better. However, the neces-sities one must have should be light and in good quality. That was my initial idea for lightness. Nevertheless, during the process of researching lightness, I discovered those little stories about how lightness could change a thought. I realized that lightness could also be concluded with the notions of humor, wit, and elegance. It is a twist in our life to see heavy things in a fresh way. And this aspect is just as important for the designer when confronting an object. As Calvino said, “lightness is a virtue that every designer should maintain, not only by removing the weight of structure but also to make the intention of lightness present.” [30]

Lightness by what I mean lightness is the absence of weight, the presence of light and a vital essence of design.

Conclusions

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[1] http://en.wikipedia.org/wiki/Lightness[2][3] Italo Calvino (1988) Six Memos for the Next Millennium[4] FAQs http://213.42.27.171/ikeauae_com/content/tips.asp[5] Adriaan Beukers, Ed van Hinte (2005) Lightness: the inevitable renais-sance of minimum energy structures[6] http://www.thespacereview.com/article/613/1[7] [8] Adriaan Beukers, Ed van Hinte (2005) Lightness: the inevitable renais-sance of minimum energy structures[9] [10] Italo Calvino (1988) Six Memos for the Next Millennium[11] [13] [14] [15] Adriaan Beukers, Ed van Hinte (2005) Lightness: the inevi-table renaissance of minimum energy structures[12] Peter Pearce (1980) Structure in nature is a strategy for design[16] http://sixrevisions.com/graphics-design/visual-weight-designs/[17][18] Kenya Hara (2009) White[19] http://www.designboom.com/weblog/cat/8/view/9519/tokujin-yosh-ioka-the-invisibles-for-kartell.html[20] http://en.wikipedia.org/wiki/Lightness[21] [22] [23] Bruno Munari (2009) Design as art[24] http://en.wikipedia.org/wiki/Chopsticks[25] http://en.wikipedia.org/wiki/Lightness[26] [27]Adriaan Beukers, Ed van Hinte (2005) Lightness: the inevitable re-naissance of minimum energy structures[28] http://www.goodreads.com/author/quotes/1264.Jean_Baudrillard[29][30] Italo Calvino (1988) Six Memos for the Next Millennium

References

38

“The orange is therefore an almost perfect object in which one may observe an abso-lute coherence of form, function and consumption. Even the coloris exactly right. It would be quite wrong if such an object were blue”.

Bruno Munari

40

“His novel The Unbearable Lightness of Being is in reality a bitter confirmation of the Ineluctable Weight of Living, not only in the situation of desperate and all-pervading oppression that has been the fate of his hapless country, but in a human condition common to us all, however infinitely more fortunate we may be. For Kundera the weight of living consists chiefly in constriction, in the dense net of public and private constrictions that enfolds us more and more closely. “

Italo Calvino

41

“If eternal return is the heaviest of burdens, then our lives can stand out against it in all their splendid lightness. “

Milan Kundera

42

“When I show my work outside of Japan, people often ask me whether I am a Bud-dhist. Actually I’m not or at least I’m not conscious that I am. My work appears that way naturally.”

Rinko Kawauchi

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Rinko Kawauchi / untitled

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47


49


51


53


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“Nature is smart - are we smart enough to learn its lessons?”

Adriaan Beukers

58

“One might say that, in Newton’s theories, what most strikes the literary imagination is not the conditioning of everything and everyone by the inevitability of its own weight, but rather the balance of forces that enables heavenly bodies to float in space.”

Italo Calvino

64

“Leopardi bestows many images of lightness on the happiness he thinks we can never attain: birds, the voice of a girl singing at a window, the clarity of the air—and, above all, the moon. As soon as the moon appears in poetry, it brings with it a sensation of lightness, suspension, a silent calm enchantment.”

Italo Calvino

67

Eric Cahan / Sky series

68

“It is not the strongest of the species that survives, nor the most intelligent, but the one most responsive to change”

Charles Darwin

70

“It always seemed to me a sort of clever stupidity only to have one sort of talent - like a carrier pigeon”

George Eliot

79

“One should be light like a bird, and not like a feather.”

“Il faut être léger comme l’oiseau, et non comme la plume”

Paul Valéry

90

“Dieu a tout fait de rien. Mais le rien perce.”

“God made everything out of nothing. But the nothingness shows through.”

Paul Valéry

92

“My work is about mystery and obscurity—what is not fully seen, and transparency—what is physically obvious.”

katy Heinlein

95

Ron Gilad / Spaces, Etc.

97

Sakamoto Tokuro / Endoresuhoridei (‘Endless holiday’)

99

Sakamoto Tokuro / Endoresuhoridei (‘Endless holiday’)

101

Daniel Rybakken / Right angle mirror

103

Daniel Rybakken / Surface Daylight

105

Leandro Erlich / Swimming Pool

107

Wolfgang Laib / Milkstones

108

“Light is not so much something that reveals, as it is itself the revelation.”

James Turrell

109

James Turrell

111

Tadao Ando / Church of the Light

118

Beukers, Adriaan, and Ed Van Hinte. Flying Lightness: Promises for Structural Elegance. Rot-terdam: 010 Pub., 2005. Print.

Beukers, Adriaan, and Ed Van Hinte. Lightness: The Inevitable Renaissance of Minimum Energy Structures. Rotterdam: 010, 1999. Print.

Calvino, Italo. Six Memos for the next Millennium. Cambridge, MA: Harvard UP, 1988. Print.

Hara, Kenya. Designing Design. Baden, Switzerland: Lars Muller, 2007. Print.

Hara, Kenya. White. Baden, Switzerland: Lars Muller, 2010. Print.

Harrison, Colin James Oliver., Alan Greensmith, and Mark B. Robbins. Birds of the World. Lon-don: Dorling Kindersley, 1993. Print.

Heinzel, Hermann, Richard Sidney Richmond Fitter, and John Leonard Frederick Parslow. The Birds of Britain and Europe with North Africa and the Middle East. Philadelphia: Lippincott, 1972. Print.

Jonsson, Lars. Birds of Europe: With North Africa and the Middle East. Princeton, NJ: Princeton UP, 1992. Print.

Koren, Leonard. Wabi-sabi for Artists, Designers, Poets & Philosophers. Berkeley, CA: Stone Bridge, 1994. Print.

Kundera, Milan. The Unbearable Lightness of Being. New York: Harper & Row, 1984. Print.

Pawson, John. Minimum. London: Phaidon, 1996. Print.

Rennie, James. Natural History of Birds. Their Architecture, Habits, and Faculties. New York: Harper & Brothers, 1840. Print.

Bruno Munari. Bruno Munari: Design as Art. Cambridge, MA: MIT, 1987. Print.

Tanizaki, Junichiro. In Praise of Shadows. New Haven, CT: Leete’s Island, 1977. Print.

Woodson, Jacqueline. Feathers. New York: G.P. Putnam’s Sons, 2007. Print.

Bibliography

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Image Index

p. 9

Quoted from: http://www.douban.com/note/140978073/

p. 11

Marcel Wanders, Knotted chair

Quoted from: http://www.balouga.com/ob-jets-deco-parents/objets-deco-enfant/minia-ture-knotted-chair-marcel-wanders-vitra.html

p. 14

Alicia Bock

Quoted from: http://www.flickr.com/pho-tos/bloomgrowlove/3786201163/

p. 17

Quoted from: Kenya Hara, Designing design, p.113

p. 19

Tokujin Yoshioka , The Invisible

Quoted from: http://www.leasedferrari.com/2010/03/invisible-chair-tokujin-yoshio-ka.html

p. 21

How high the moon, Shiro Kuramata

Quoted from: http://www.chairblog.eu/2009/07/08/how-high-the-moon-shiro-kuramata-at-christies/

p. 22, 23

Ronan-and-Erwan-Bouroullec, Oiseau, 2011

Quoted from: http://www.bouroullec.com/

p. 29

Quoted from: http://www.chinadaily.com.cn/english/doc/2004-01/09/content_297513.htm

p. 33

Quoted from: http://www.blog.designsquish.com/index.php?/site/bullfinch/

p. 35

Leonardo da Vinci

Quoted from: http://culturaleducation.word-press.com/2011/11/10/is-it-a-bird-is-it-a-plane-is-it-leonardo-da-vinci/

p. 38, 39

Bruno Munari, Design As Art, 2009

p. 41

Kundera Milan, The Unbearable Lightness Of Being, 1984

Quoted from: http://doogest.com/prod-uct_images/g/677/The_Unbearable_Light-ness_Of_Being__29293_zoom.jpg

p. 43

Rinko Kawauchi, untitled from the eyes, the ears, 2005

Quoted from: http://blog.roodo.com/citta/archives/4533553.html

p. 45

Rinko Kawauchi, untitled from cui cui, 2005


p. 47

Rinko Kawauchi, untitled from AILA, 2004


p. 49



p. 51



p. 53



p. 55

120

Deangdeelert Cho

Quoted from: Quoted from: http://ohjoy.blogs.com/.a/6a00d8341c6a0853ef01156f3a069d970c-pi

p. 56

Quoted from: http://payload15.cargocollec-tive.com/1/0/128/2602634/minelli14_905.jpg

p. 59

Damien Rudd

Quoted from: http://www.flickr.com/pho-tos/afternoonlovein/

p. 61

Mark Shaw, Vanity Fair Lingerie, ct

Quoted from: http://www.markshawphoto.com

p. 63

Hieronymus Hieronymus Bosch, Caravaggio TASCHEN's Magic

Quoted from: http://community.livejournal.com/vintagephoto/4717308.html

p. 65

Quoted from: http://classic.xpeeps.com/member.php?u=795612

p. 67

Eric Cahan, Sky series

Quoted from: http://minimalissimo.com/2011/12/sky-series/

p. 69

Quoted from: http://dendroica.blogspot.com/2009/11/darwins-birds-evolution-and-dna-in.html

p. 70, 71

Popular Mechanics 1930

Quoted from: http://books.google.ch/books?id=p-IDAAAAMBAJ&printsec=frontcover&dq=Popular+Mechanics+1930&hl=zh-TW&sa=X&ei=vyVUT7axHrPa4QTFuozzDQ&ved=0CEoQ6AEwBw#v=onepage&

q=Popular%20Mechanics%201930&f=false

p. 72, 73

Lars Jonsson, Birds of Europe, 1996

Quoted from: p.7, 11

p. 74, 75

Herman Heinzel, Birds of Britain and Europe, 2001

Quoted from: p.137, 239

p. 76

Eadweard Muybridge, 1884-1887

Quoted from: http://www.corbisimages.com/

p. 78, 81, 82

Andrew Zuckerman, bird, 2009

Quoted from: http://www.creaturebook.com/

p. 85

Quoted from: http://evencleveland.blogspot.com/2009_06_01_archive.htmlp. 42

p. 86

Quoted from: http://annelouiselikes.word-press.com/2011/01/13/treasures/

p. 87

Quoted from: http://www.juliedigsdesign.com/2011/05/collection-light-as-feather.html

p. 88

Quoted from: http://www.flickr.com/pho-tos/fieldguided/5413155129/

P. 91

Quoted from: http://ahnini.tumblr.com/post/3347280936

p. 92, 93

katy Heinlein, 2006-2008

Quoted from: http://www.designboom.com/weblog/cat/10/view/10655/katy-heinlein.html

p. 95

121

Ron Gilad, Spaces, Etc.

Quoted from: http://minimalissimo.com/2011/09/spaces-etc/

p. 97, 99

Sakamoto Tokuro, Endoresuhoridei (‘Endless holiday’)

Quoted from: http://minimalissimo.com/2009/07/endoresuhoridei/

p. 101

Daniel Rybakken, Right angle mirror

Quoted from: http://www.sleekdesign.fr/2011/01/06/azambourg-crasset-rybakken-en-coulisses-meet-my-project-la-suite/

p. 103

Daniel Rybakken, Surface Daylight

Quoted from: http://www.danielrybakken.com/

p. 105

Leandro Erlich, Swimming Pool

Quoted from: http://www.flickr.com/pho-tos/atomische/3338057066/

p. 106, 107

Wolfgang Laib, Milkstones

Quoted from: http://minimalissimo.com/2011/07/milkstones/

p. 108, 109

James Turrell

Quoted from: http://minimalissimo.com/2010/11/james-turrell/

p. 111

Tadao Ando, Church of the light, 1989

Quoted from: http://ffffound.com/image/34373d4c8c685db5ba3a6959a8b405e292b42b03

p. 113

Quoted from: http://noirxxblanc.tumblr.com/

p. 115

Quoted from: http://mygraphikdesign.free.fr/?p=3792

p. 116, 117

Quoted from: http://vi.sualize.us/

écal MaDI / Mar 2012

lightness

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