建一座倒塌的碑 Built a Collapsed Obelisk – Centre SANKUANZ

本文视频 Video of this Article: 腾讯视频 / Vimeo

 

退化建筑在上海时装周ONTIME SHOW上建了一座倒塌的建筑。

Devolution Studio built a collapsed architecture on Shanghai fashion week ontime show.

从概念沟通到最终完成,不足一个月的时间,期间经历了多次因造价、场地或海关原因的方案修改。最终我们仿造了一种精密切割、严丝合缝,需要投注生命建造、代表永恒的建筑样式——方尖碑(Obelisk)。却以简易的材料和极其临时的状态,让其在48-410日的上海西岸艺术区临时存在了三天。

It only took less than one month from the concept to construction completion. During the time, the project has been revised for several times because of cost limit, built site change and customs problem. Finally, we mimic an obelisk which was made by precisely-cut granite and demanded great cost. It was a temporary installation with simple materials. The obelisk exhibited for three days from April 8th to April 10th in Shanghai West Coast Art District.

 

这三天里,这个有着巨大体积的、难以让参观者窥视全貌的作品,既是服装设计师上官喆的虚拟教堂SANKUANZ Church,又是瑞士艺术家团体SUPERMAFIAENCOR Studio多媒体装置和表演的剧场。

Visitors can’t observed the whole huge volume at one sight. During the three days, the obelisk was not only a virtual SANKUANZ Church for fashion designer Mr. Shangguan Ze, but also a multimedia installation and performance platform for Swiss artist agency  SUPERMAFIAENCOR Studio.

 

 

这场名为科技与宗教的展览是上官喆跨越其时装设计师身份的一次探索,将SANKUANZ 2017系列置入一个更完整的、跨媒介的创作语境;它同时也是退化建筑所坚持的,将建筑与艺术观念结合的工作方向的一次实现。重要的是,它让我们看见建筑、艺术与时装文化在观念和趣味上的诸多默契。

The exhibition named “Technology and Religion” is a new exploration of fashion designer Mr. Shangguan Ze, which embeds SANKUANZ 2017 series into a completed multimedia creation context. It realized a combination between architecture and art, which is the principle Devolution Studio persists on. More important, it helps us to see the privity between architecture, art, fashion culture in terms of concept and interesting.

 

N38°53’21.35”  W77°2’6.48”

N38°53’21.35″  W77°2’6.48”是一个虚构的坐标。我们在设计这个建筑方案时挪用了华盛顿纪念碑(N38°53’21.34″ W77°2’6.49″)的造型——一个尖顶的、自下而上逐渐缩小的方柱体。这种Obelisk造型作为太阳神纪念碑和古典时期帝国权威的象征最早出现在古埃及,后来被搬运或复制至西方各地。它符合受神与性、生死与爱欲共同支配的宗教悲剧人格对永恒感的向往——花岗岩、精密切割、严丝合缝,需要投注生命建造,技术、结构和工艺都是超自然的。阅读它的姿态也是悲剧性的,当太阳照耀其上,塔尖的光及与其相对的,阴影投射里信众的仰视,促发了最原始的宗教体验。对不可知之物的崇拜,赋予这个完全可能是空洞的物质实体丰沛的精神内涵。

N38°53’21.35″  W77°2’6.48″ is a fictional set of coordinates. While designing this structure, we have stolen the shape of Washington monument (N38°53’21.34”  W77°2’6.49’’) – a four-sided narrow tapering column with a pyramidion at the top. This shape of obelisk has earliest appeared in the Ancient Egypt, intended as monument for the sun god and symbol of the classical era empire’s authority, and later transported or copied widely around the western world. It corresponded with the yearning for eternity by the tragical personality of religion, motivated by gods and mundanity, life and death, love and desire. The obelisk was made by precisely-cut granite and demanded great cost. The technology, the structure and the technique – all were supernatural. The ritual of admiring an obelisk is also tragical. When sun shines on an obelisk, the glitter of its top and the opposing shadow stimulates a most primitive religious experience from the believers who look up to it. The material structure, which may be perfectly void, is then bestowed a rich spiritual essence by the worship of unknown.

一座倒塌的Obelisk则提供了一次对这种不可知的窥探。自东向西,沿长轴前进,进一步临摹宗教建筑的信众运动方向,窥视与宗教体验重叠,却受洗于科技和时尚。宗教、政治与科技的交媾或斗争在外任其发生,宗教形式从未灭亡,只是旧与的轮替。这个坐标是否准确因此并无意义,它只是标注了一种永恒信仰的临时性,倒塌待建立的悬而未决

A collapsed obelisk provides a peek at the unknown. The audience starts from the east and goes on towards the west along the long axis of the obelisk, mimicking the movement of believers inside a religious architecture. The peek, overlapped with a religious experience, is baptized by science, technology and fashion. Religion always befriends or fights politics and science. Yet its form of existence persists ever with the succession of the old ones by the new ones. Thus, the precision of the coordinates never matters. They serve only as a mark of the temporality of eternal faith and the uncertainty between something collapsed and something to be erected.

 

 

撰文 Article: 王琦 Wang Qi
视频导演 Film Director: 杨鹿童 Yang Lu-Tong
视频剪辑 Film Editors: 王海清 Wang Hai-Qing
摄影 Photographer: 许晓东 Xu Xiao-Dong

 

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