Mood board-Wang Tianyi-Y2k version of the city

exercise   Y2k is the shortened term of ‘the year 2000’, and usually presents an idealized vision of the future, with optimism and utopia at its core. The characteristics of such a style are usually described with the words low, small volume Dynamic, idealistic, colorful/ Light material, retro-futurist, and curve/ horizontal. In the mood board, the blue color is used to illustrate the sense of mystery and silence, to represent the specific period and style that Y2k has brought to us, with no alienation and pessimism.

Mood Board “Looking at our city through the gaze of craved patterns’ gates”(Workshop 3)

Four photos are overlapped on the mood board to create an atmosphere of nostalgia. I close up the gate with craved patterns and put it in the centre. Therefore, people can quickly catch up the main idea of this mood board is gates with craved patterns. The background is the street of Mong Kok, and it surprisingly matches the “Man Shing Street” I added previously. The reason behind this is that I want to bring out a message: gates with craved patterns are the street aesthetics in Hong Kong.  Along with the mailboxes on the left side, this mood board

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[Mood Board]: “Home” Matthew See

Moodboard < CLICK FOR IMAGE I examined the tenement buildings of Hong Kong. I believe the use of colorful paints and toilet tiles in the majority of Hong Kong’s tenement buildings brings a unique style that I tried to capture in my Moodboard. I focused on presenting the material and texture of tenement buildings, the rusting gates, colorful tiles, and the corroding concrete are all things I chose to include.

Reading Response2:L7,2010,Oh NO,There goes Tokyo

In the paper, Tsutsui W.M. employed a multidimensional analytical approach to explore the description of the catastrophic end of Tokyo. Firstly, the author thoroughly analyzes various works in post-war Japanese popular culture, such as movies, comics, animations, and electronic games, to sort out the common themes and symbolic meanings about the destruction of Tokyo in these works. Through these popular cultural works, Tsutsui reveals the deep fear and anxiety of the public towards urban disasters, technological runaways, and natural disasters. Revealing this destructive aesthetic and its potential social, historical, and political implications. This study not only explores the phenomenon of

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[READING RESPONSE 2] Oh No, There Goes Tokyo

This article provides an intriguing look at how catastrophes are portrayed in popular culture from that era in Japan. Tsutsui provides insightful analysis of the ways in which these representations mirror society worries and wants, shedding light on the relationship between architecture, film, and cultural narratives. Tsutsui’s broad perspective improves our understanding of how cinema and design serve as mediums for collectively conceiving alternate urban possibilities and processing trauma. The author’s in-depth analysis of well-known movies and how they present destruction as a kind of entertainment is thought-provoking and sheds light on the complex relationship between natural catastrophes, urban landscapes, and popular

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