s_syc
IMG_1960
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.
IMG_1960
I am the last advocate for reducing texts, scriptures and languages to mere graphic forms. The whole dimension of the text's meaning, histories, combinations, connotations, sound and craft is disregarded. What is more problematic is that I am ignoring the power of words to move and persuade people.
After first year and my first internship, I felt slightly disillusioned and confused by what Architecture meant to me. I took a trip to Myanmar and the trip recalibrated a lot things. I found it particularly grounding and inspiring for some of the things that I want to achieve in the future.
The spatial and formal organisation of the Burmese language in signage was something I found very compelling. At least with the handwritten texts, so much thought and effort was put into crafting every character. You see pencil marks, underlays, brush strokes and outlines. There is a combination of type faces and textures to create visual impact in different programmatic contexts that I find fascinating.
The Burmese name for the round script is "ca-lonh", literally translating to "round text". There are 33 main characters in the Myanmar language. Instead of words that are formed by a combination of alphabets (like in English), this language makes use of additional vowel shift symbols, tonal change symbols and consonant modification symbols. The rounded form of the characters is a result of the use of palm laves a the traditional writing material. Straight lines and forms would tear the leaves.
By compiling this, I am exposing my status as alien and an outsider. However, the focus on the visuals may have the inverse effect of celebrating the text, for text's sake, specifically, it is celebrated as visual form and not just a sign that says "eggs", or something.
Regardless, I tried to interpret the scope of "text" in a broad but focused way - text, in its literal form, text in prayer, text in recitation, text in architectural program (the stupas of Kuthodaw Pagoda). Photos are arranged in chronological order. The journey started in Yangon, then upstream along the Ayarwaddy river, to Mandalay and Bagan, then back again to Yangon.
These photos aren't really anything special in terms of photography, and I am not going to attempt to make sweeping claims about directing a new visual order, but as a composite they attempt to represent my yearning to celebrate a culture of appreciation for the process driven intensity in text making and in the creation of form.