朱啸尘|一个空间的艺术打开方式——术木展厅

作者:创始人 日期:2020-06-18 人气:3957
案例正文

比利时舞蹈家Sidi Labi(西迪·拉比)曾在他的《生长》舞剧中表现了这样一个主题:生长以结构的初始和创作的初始为主题,表现了基因聚合、分裂、再聚合形成的结构,以树为喻,呈现过去与现在与未来的交错关系以及这种生长过程与周围环境的相互作用,表现了时空交错下事物发展的过程和其动力。

Belgian dancer Sidi Labi once introduced that growth takes the initialstructure and the initial creation as the theme, expressing the structureformed by gene aggregation, splitting, and re-aggregation, and using trees as ametaphor, presenting the past and present, present and future, past and presentThe relationship of the future, and the interaction of this growth process withthe surrounding environment, show the process of the development of thingsunder the interlacing of time and space and the motivation therein.

西迪·拉比对树“情有独钟” 。一直以来,他都对根、树枝和不规则碎片以及细胞分裂后产生新物质的运动过程很感兴趣。在西迪·拉比看来,生长是一个循环反复的过程,是内部积蓄向外部拓展的结果。舞者和树木、植物有一个根本的共同点:需要向前,需要空间,还要与栖息的环境互相作用,受到自然界和外部力量的影响,但生长是不变的原动力。Sidi Rabbi has a soft spot for trees. He has always been interested inthe movement of roots, branches and irregular debris, as well as the productionof new substances after cell division. According to Sidi Rabbi, each branchcorresponds to a root deeply buried in the soil. The more we want to reach outand grasp the future, the more we need to understand its past. Growth is acyclic and iterative process, which is the result of the expansion of internalsavings to the outside. Dancers have something in common with trees and plants:they need to move forward, they need space, but they also have to interact withthe environment they inhabit, and they are also affected by the natural worldand external forces.

在一直探索设计新方向的泛域设计看来,空间和人之间是一种变动的关系。人们可以进入这样一个空间:它是人周围的领域,当一些精心考虑的物体和线条被引入空间的时候,这一切就具有了尺度和意义。每一个要素的大小和形态是与整个空间和其他所有要素相关联的。正如野口勇曾说:“我喜欢想象把园林当作空间的雕塑。”其实室内外的一切设计都是空间的雕塑。People can enter such a space, which is the field around him. When somecarefully considered objects and lines are introduced, they have scale andmeaning. This is why sculpture creates space. The size and shape of eachelement are related to the entire space and all other elements. As Noguchi oncesaid, "I like to imagine sculptures that use gardens as spaces."

在术木这样一个可以进行艺术表演的空间内,空间通过人的行为参与而被激活,材质通过表演艺术的肢体关系也同样被唤醒。各种材质本身是有一定的生命特性,无形的表演艺术轨迹将空间的各个部分串联起来。观赏者的体验方式更像是参加一场舞台剧,聚光灯在材质与表演者身上被点亮,这一刻,时间空间是凝固的。

The space is activated through the participation of human behavior, the material is also awakened through the physical relationship of the performing arts, various materials themselves have certain life characteristics, and the invisible performing art trajectory connects the various parts of the space, the experience of the viewer is more like participating in a stage play. The spotlight is lit on the material and the performer. The space and time are solidified.

空间中的雕塑和装置与表演者的肢体形成了互动关系。观赏者可以游走在空间中,也可以在驻足在入口的台阶上,感受非常规视角的空间体验,这是平行视角无法体验到的一种愉悦。身体力量关系是空间戏剧化的无穷无尽的来源,同时设计师一直在寻找放大物理现象的装置。这是一个寻找生命的过程,一个永久的创造过程,并且尝试接近一个悬浮点。所有这些都是来自于不同领域的灵感:歌剧、电影、音乐、音乐会、戏剧、马戏团等。这些不同形式的积累探索也表达出对拥抱和体验生活的渴望。

The sculptures and installations in the space form an interactiverelationship with the performer's limbs. The viewer can walk in the space, andcan also feel the space experience after changing the conventional perspectiveon the entrance steps, which cannot be felt by the parallel perspective. Therelationship between body power is an inexhaustible source of spatialdramatization, and at the same time, we are always looking for devices to amplifyphysical phenomena. This is a process of finding life, a permanent process ofcreation, and trying to approach a floating point. All of these provideinspiration from different fields: opera, movie, music, concert, drama, circus,etc. These different forms of accumulation and exploration also express thedesire to embrace and experience life.

在这个空间中,设计师剥离常态室内空间的思考方式,通过五组空间表演装置形成各个体块系统,每个体块都暗示着材质与材质之间的融合性,木与五大属性的交融后,从肢体行为转化到雕塑,再从雕塑转化为空间,再由空间转化成表演艺术的舞台,最后从表演艺术里凝结了肢体行为。这是整个空间的转化关系,也是空间思考的原点。

Stripping away the normal way of thinking about indoor space, each bodysystem is formed through five sets of space performance installations, eachbody body hints at the fusion of materials and materials. After the fusion ofwood and five attributes, the body behavior is transformed into sculpture, Fromsculpture to space, from space to stage of performing arts, and finallycondensing physical behavior from performing arts. This is the transformationrelationship of the entire space and the origin of space thinking.

平面布局是通过对不同能量体块的组合而形成的,金、木、水、火、土是组成宇宙万物的元素,是一种强大的能量关系。在空间中,不同的交融关系也是强调空间的戏剧性、包容性、趣味性。能量是质量运动中的时空分布可能变化程度的度量。能量在改变时保持不变,它的变换和守恒将运动的各个阶段的描述联系在一起。

The layout of the plane is formed by the combination of different energyblocks. The golden wood, water, fire and earth are the elements that make upthe universe. It is a powerful energy relationship in space. Sex. Energy is ameasure of how likely the spatiotemporal distribution in mass motion may be.The energy remains unchanged when it changes, and its transformation andconservation link the description of the various stages of movement.

设计师通过表演艺术与各元素关系重叠都引发观众对空间更深层的思考,探索可能性,对物质的本质和对生命的认知,对空间的实验,对艺术的探索,这些执念终将会指向新的道路。

Through the overlapping of the relationship between performing arts andvarious elements, it leads to deeper thinking and possibility of space, theessence of material, the understanding of life, the experiment of space, andthe exploration of art. These obsessions will eventually point to new the way. Danceart is the dynamics completed in time and space based on the physical movementorganization.

木拱在穿透混凝土拱洞后,木皮却被剥落在地面传递人类对自然的无情剥夺。这是一种可探寻轨迹的反推方式,从现场的静态表现与细节内容从而推测之前所发生的一系列行动轨迹,这种反推理概念,也很好地增加了空间的神秘性、趣味性与参与感。

After the wooden arch penetrates the concrete arch hole, the wooden skinis peeled off on the ground to convey the human's ruthless deprivation ofnature. This is a backtracking method that can explore the trajectory. From thestatic performance and details of the scene to infer a series of actiontrajectories that occurred before, this anti-inference concept also increasesthe mystery and fun of the space. With a sense of participation.

设计师在无序中创造有序,有序随机被无序打破,通过表演艺术解构了时间、空间、材质及能量的关系。而表演行为结构探索了空间与构建作品,形成了独特的身体语言,以及身体、意识、材质、能量、即兴的创作方式的融合。空间是舞台也是展厅,材质与表演者共舞,所有人都被邀请参与了这场演出。

Order is created in disorder, and order is randomly broken by disorder.Performing art deconstructs the relationship between time, space, material andenergy. The performance structure explores space and constructing works,forming a unique body language, as well as a fusion of body, consciousness,materials, energy, and improvisation. The space is the stage and the exhibitionhall. The material dances with the performers, and everyone is invited toparticipate in this performance.

▲平面图

▲立面、剖面图

项目信息

项目名称:Art Wood 术木品牌概念店

空间设计:Fun Unit Design 泛域设计

项目地点:浙江杭州

室内面积:120㎡

主持设计:朱啸尘

参与设计:薛丰、柴尔焕、蒋冠航

设计时间:2019年11、12月

完工时间:2020年4月

主要用材:地板、混凝土、艺术涂料、玻璃砖、不锈钢

摄影师:Aogvision奥观建筑视觉

设计师

朱啸尘 Eason Zhu

FUN UNIT DESIGN 创始人/设计总监

伦敦艺术大学硕士学位

美国休斯敦NASA Space Center 设计开幕式空间的华人设计师

有趣是一种单纯特性的表达,

是当代社会最渴求的奢侈品.

我们正在努力寻求建筑,

空间与事物中每一个单元体之间的

本质,关系,真实和一份简单的感动。

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