铁道
可以叫我ILIAN，目前是建筑学在读生。
「poiesis」意为“创造”或“创制”，不过我更倾向于将其译为“造物”，其既可以理解为充满艰辛却又伴随着灵感与思想碰撞的过程，也可以理解经由那过程所诞生的产物。这也正是所有创造性行为的两端，无论是绘画、摄影、写作、建筑设计亦或是游戏创作都无一不会经由这个过程。在“造”的过程中我们思考、感受，在“物”被产出时我们收获喜悦。尽管“物”并不总是如预期般完美，但其依然会驱使着我们投入下一个“造”的旅程。故我将我的作品集命名为「poiesis」，其包含我近期所探索的游戏设计作品，以及曾经的建筑、绘画与摄影作品，多为拙作，还请多指点。
Call me ILIAN. I'm currently a student of architecture.
Poiesis means creation, or bringing-forth — though I'd rather read it as
the making and the made: at once the labour, with its difficulty and its collisions of
thought, and the thing that labour finally yields. Every creative act has these two ends, and
painting, photography, writing, architecture and games all pass through them. In the making we
think and feel; in the made we find our joy. And though the made is seldom as perfect as we had
hoped, it is what sends us into the next making. Hence the name. This collects the game design
I've been exploring lately, along with earlier work in architecture, painting and photography —
modest things, mostly, and I'd welcome your thoughts.
每一个灵魂都是不落的星辰，在生命的尽头并非死亡，而是前往乐土的漫长旅程。世人如此相信，法老如此相信，直至夜幕浸润广阔的荒原，睡于大地之下的法老在墓中睁开双眼，他瞧见他的身躯化作了……一只猫？
「喵喵？」
「吾名巴斯特，寻回你的影子，承装你的心脏，在此间接受诸神的审判吧。」
「喵喵喵？」
意识何以认识存在，自我何以理解自我。在那个轰鸣的夜晚，石棺会盖住那些欲望、野心、偏执与一切的真相。
「你在那面镜子里看到了谁？唉，我早就该知道的」
How can consciousness know being; how can the self understand itself. On that roaring night the
sarcophagus would cover the desire, the ambition, the obsession, and every truth there was.
“Who was it you saw in that mirror? Ah, I should have known.”
「假如他不再梦到你」
第十四次远征在二十日前出发，此后再无消息。现场只有一辆马车停在河谷口，挽具完好。车上只剩一封信，信封没有写收信人，信纸是空白的。在此后的十年里与此事相关的人均梦到一座环形废墟，梦见被火焰灼烧的天际，梦见正在被梦见的人。
The fourteenth expedition left twenty days ago. There has been no word since. At the site there was only a carriage at the mouth of the valley, its harness intact, and in it a single letter: no addressee on the envelope, nothing written on the paper. In the ten years that followed, everyone connected with the affair dreamed of a circular ruin; dreamed of a sky scorched by fire; dreamed of the man who was being dreamed.
REVERIE 意为「白日梦」，巴什拉在《梦想的诗学》中将其与夜梦严格区分。巴什拉认为清醒的梦境才是想象力真正诞生的时刻，而绘画时笔尖也大多游走在这种梦境之中。以下收录我的部分绘画作品，一些来自以前的梦，一些来自最近的。
REVERIE — Bachelard's daydream, set strictly apart from the dream of sleep: lucid dreaming is where imagination is actually born, and the pen tends to wander there too. A selection of my drawings — some from older dreams, some from recent ones.
KAIROS 意为「恰当的时机」，古希腊人常用其描述漫长时间中所不可替代的某一刻。但事实上生活中的每一刻都是不可替代的，每一个画面都是稍纵即逝的瞬间，而摄影便是将这些瞬间保存的最佳手段。以下收录我曾经拍下的那些瞬间。
KAIROS — the opportune moment; the Greeks used it for the one irreplaceable instant in a long stretch of time. But every moment is irreplaceable, every frame something that will not come again — and photography is the best means we have of keeping them. What follows are moments I caught.
ISTORIA 意为「叙事绘画」，由阿尔伯蒂在《论绘画》一书中提出。阿尔伯蒂认为绘画应具有叙事性与历史性， 并能通过构图元素表达时代特性。在建筑学语境下，叙事性同样可以在建筑形式与空间中得以介入， 屈米的曼哈顿手稿证明了与情节在建筑生成中的可能性。对于当代建筑，叙事性仍有其重要性， 本设计集收录了我在本科期间基于叙事概念的多种建筑探索与实验。
ISTORIA — Alberti's term for narrative painting. This portfolio collects undergraduate work built on narrative as an architectural premise.