show & book

dirty windows


photo: Alpern. Dirty Window.

I used to have a recurring dream, it went like this: I’m spying on some activity in the window.

when,suddenly, the subject becomes aware of my presence and looks up. We lock eyes.

I know I’am in big trouble. Igasp and wake up.

The New York winter of 1993-94 was something like the second coldest or snowiest in history.

Weekly Blizzards vied for one- upmanship, causing depression in some people and exhilaration in other. The Saniration Department ran out of salt.

I spent most of my nights that winter down on Wall Streer looking into a bathroom window, watching people I didn’t know urinate, take drugs, have sex and count money.

This routine started in October when a men’s club opened in my friend Norman’s building. He showed me how the configuration of his loft space enabled a view across the airshaft, into the empty windows, one flight down, maybe 15 feet away. As we stood looking into the empty windows one of them was suddenly filled by an astonishing body, wearing a sparking harness, and doing something with toilet paper. I was transfixed. The body vanished a minute late and I wondered if I’d seen a mirage. I began calling Norman all the time, as relentless as the snow. Could I come over for just a little while?

Around 5 or 6 o’clock I’d arrive and climb the stairs past the club’s door– unmarked, just lots of locks and a peephole. A group pf men on the steps, laughing and drinking, sometimes called out to me. “Hey, aren’t you working tonight?” Bundle up, trying to make my photo equipment inconspicous, I’d duck my head and murmur some unintelligible sounds.

When I arrived at Norman’s loft we skipped the small talk and would soeculate instead on the likelihood of a “good night”, the indicators being everything from current weather conditions to the level of bass vibrations coming through the floor. Then I would head into the back room to arrange my setup amd begin my vigil. It was always such a relief to see the windows lit against the familiar darkness, their lunimous rectangles casting light up at me in a reassuring way.

So now I’m situated– dark clothes, camera on tripod, lens extended through the window bars– and waiting. I’m staring at the squares of light, eager for somebody to apper, but nobody does so I sip my cocoa, watch and wait, eyes on the windows, on the lookout for any stirrings of life. i listend for the music and wonder if the night’s snowstorm will slow business down.

Maybe twenty minutes later I’m in a trancelike state, still staring at the empty glowing squares, unable to discern whether the windows are flat planes of light or openings onto thress dimenstional spaces.

The room is freezing. I wrap up in some blankets and close my eyes, afterimages float in my brain- the same unwavering shape in a multitude of colors. I start to court, tell myself that when I get to 100 someone will appear. I try, like a two- bit psychic, to will a subject into view; it doesn’t work/ I’m hungry and wonder what’s in Norman’ refrigerator. It’s getting late. I keep checking my watch every few minutes, then I force myself not to look anymore. Finally, there’s nothing left to do but examine my motivations: Why am I sitting alone again in a darkened room, waiting to watch straners fuck?

I’d something get a look lije I’d announced I was twisting the heads off kittens when I tried to explain my evenings stationed at the windows. I loved to watch even the most mundane of anthropological details like how each man, after he urinated, shook his penis a little differently and none of the men ever seemed to wash his hands. I compared the tawdry, circus- like costumes the women wore, and was intrigued by the procedures of the sexual transactions: when the condom came out, when the money was handed over, how long it took, did they kiss goodbye.

Recuuring characters gave these pantomimes a soap opera quality and I’d try to decipher plot lines and guess the next scene. These minidramas and their unvarying props– condoms, tattoos, silicone, crack– filled my head and I began to think abot the windows all the time. They found their way into my dream.

I started to feel watched, always closing blinds and turning off lights. Sitting in the dark with my camera, I’d scan the buildings and rooftops and wonder who wathched me while I sat and watched. When a mirror was propped up in the window, blocking a portion of my view, I becaome convinced I’d blown the spot but it gave me a new perspective for several weeks; eventually pieces strarted breaking off and it finally disappeared altogether.

As February turned into March I became aware that the longer days were cutting into my shooting time. The warming air meant open windows and I felt I was pushing my luck with my subjects so close, the sound of the camera’s motor easily recognizable . And then one spring day, one thousand frames later, a message on my machine from Morman. “It’s over, baby, hope you got all your pictures, some kind of bust, hot tub being carried out last night…”

I felt freedom, relief, disbelief. I had to go back several times to share at the windows and absorb this turn of events, like viewing a body at a wake. I ran into the building’s real estate agent in the hallway and found myself improvising a frantic story about my search for a commercail space, a loft. Was  there a spave available in this building? Could I just take a quick peek?

And finally I stood with the agent in the enormous empty room, painted in shades of turquoise and lavender, a makeshift wooden platform in the center of the space. I rushed toward the back room marked WOMEN and, ignoring the agent’s questioning looks. I began to take all sorts of measurements, recording every dimension of the little bathroom on a scrap pf paper. It seemed important to gather this information, the numbers giving the mythical room a concrete reality.

This tiny, tiny bathroom was so anticlimactic. How could all that I’d witnessed have taken place in such cramped quarters? I gazed out and across, Locating my former perch. It was really so inconspicous: I realized then the unlikelihood of my ever having been discovered/ And I took one last look up at the windows, from which I had watched. for so many days, the pastimes of perfect strangers.

                                                                                                                      Merry Alpern





Alpern, M.(1995) Dirty Windows. New York: scalo


Today MUJI, a Japanese band has over 7,000 product items, including household products, clothing, stationeries , all of them emphasizing the brand’s concepts such as the ability to be recycled, extremely simple exterior and minimal wastage. (Narain, 2007, p.9)


photo: Narain,S. MUJI. cover

 This book talks about the story and concept of MUJI and its products. The initial purpose of this brand is against fashion and “brand free”, however, none can deny, it have become the most famous brand and leading fashion since 1990s. For me, its simplicity attract me a lot, especial the 2d advertisements are always nature, clean and get the point.


photo: Narain,S. MUJI. p.197

As we can see from the above images, using hazy household showroom as background, ‘simply’ set the main product in the centre. Following the tile( home) and the brand’s name. Not only easily make people understand the idea, MUJI devoted to help costumes to built their home and set up a living style, but also is warming and friendly graphic design.     


photo: Narain,S. MUJI. p.197

Narain, S. (ed.)(2007) Brands A To Z: MUJI. London: Southbank Publishing

 A Type Primer is a practical book for beginning students, the main purpose of the book is telling where the reader can understand and demonstrate basic principles of typography. At the introduction, John said that students have asked” is this right?”, when in fact there is no such thing in typography as ‘right’. The question they should be asking themselves is, “Does this work? Is it useful”.( Kane. J introduction) I quite like the answer, as I was confused a lot about what should fine art look like? Did i make it right? Now, maybe we can have another direction  to think about how is the work going. By ask myself, does it approach the idea i want to clarify, could it bring some positive information to audiences and something like that.

At the end of the introduction, John also takes three ideas separately from Louis Sullivan, Ludwig Mies van der Rohe and Louis Kahn: Content dictates form/ Less is more/ God is in the details. The ideas sound quite appropriate, but i still have to prove how does it work by practicing.

this book is including some excises, basic, but still useful.

for example. on 152 mm squares, present sections of a letterform that highlight it unique characteristics, keeping in mind the contrast between form and counter form. Note the point at which the letterform is no longer recognizable.

i chose adobe caslon pro as typeface, but, after enlarging, it is hard to tell. it is help to recognize the tiny details in different typeface, and make me more sensitive to letter form. 


and another excise is: pick up a letter, redraw them as often as it takes for you to feel the typeface, its nuances, and unique characteristics. when i can not decide use which letterform, i would try to redraw it by hand and enlarge it, and then find the one more suitable quickly.


Kane, J.(2004). A Type Prime. London: Laurence King Publishing Ltd