Art Intervention Fifteen stones (Ryōan-ji) by Spencer Finch

Zen garden stimulates modern thinking

Project Specs


来自 Spencer Finch对gooood的分享。更多关于他们请至:Spencer Finch on gooood
Appreciation towards Spencer Finch for providing the following description:

密斯·凡·德·罗基金会会定期邀请艺术家和建筑师在展馆中进行干预设计,以此来激发新的反思。展馆将作为灵感和实验的空间,创造最具有创新性的艺术和建筑。在继SANAA、Jeff Wall、艾未未、Enric Miralles、AndrésJaque、Antoni Muntadas,Domènech和Anna&Eugeni Bach等人之后,今年美国艺术家Spencer Finch被邀请来对密斯·凡·德·罗展厅进行名为“十五石”的干预设计。

Fundació Mies van der Rohe periodically invites artists and architects to provoke new looks and reflections through their interventions in the Pavilion, enhancing it as a space for inspiration and experimentation for the most innovative artistic and architectural creation. After SANAA, Jeff Wall, Ai Wei Wei, Enric Miralles, Andrés Jaque, Antoni Muntadas, Domènech and Anna & Eugeni Bach, among others, this year this year American artist Spencer Finch will be in charge of intervening in the Mies van Pavilion der Rohe with the proposal ‘Fifteen stones (Ryōan-ji)’.

▼位于密斯·凡·德·罗展馆中的“十五石(Ryōan-ji)”的干预设计,the proposal ‘Fifteen stones (Ryōan-ji)’ in the Mies van Pavilion der Rohe


The project, which can be seen from today until October 21 at the Mies van der Rohe Pavilion, links the aesthetics of Mies van der Rohe with those of Zen philosophy. “the temple of Dragon’s rest”, is located in Kyoto and its famous karesansui (zen garden), considered a masterpiece of Japanese culture.
On a white gravel surface of 25x10m, almost the same dimensions as the pond at Mies van der Rohe Pavilion, fifteen stones are arranged in such a way that it is not possible to see all of them at the same time, no matter which is the position of the observer. This abstract composition of stones in the space that encourages meditation, is open to interpretation, in the same way that Fifteen Stones.

▼该设计试图将密斯·凡·德·罗的美学与禅宗哲学的相联系,the design links the aesthetics of Mies van der Rohe with those of Zen philosophy.Ryōan-ji

▼石头被置于25×10米的白色砾石上,the stone is placed on 25×10 meters of white gravel


The proposal also refers to the links between the Modern Movement, and specifically the work of Mies van der Rohe, and the Japanese precedent. Direct connections have not often been proposed between the way of thinking and working of the German architect and the philosophical and conceptual basis of Japanese culture. This intervention allows us to reflect on the most lyrical aspects of the work of Mies van der Rohe and one of the most outstanding materials of the Pavilion, the stone, in this case in its natural state establishing a dialogue with the travertine cut, polished and hanging that forms the walls, the pavement and the bench from which the composition is observed.

▼干预设计让人们能够反思密斯·凡·德·罗作品中最抒情的一面,this intervention allows us to reflect on the most lyrical aspects of the work of Mies van der Rohe

▼十五块石头进行组合排列打造出奇特的景观,fifteen stones are combined to create a peculiar landscape

Spencer Finch评论道:“位于京都的龙安寺(Ryōan-ji)花园和巴塞罗那的密斯·凡·德·罗展厅都是本人最喜欢的两个地方。尽管两者存在许多不同之处,但它们就表现人类的视觉感受和穿越空间的想法上,还是十分相似的。Wittgentstei在《文化和价值》一书中曾说道:‘美好的建筑所展现的印象表达了人们的思想,让观者想要回应这一表达。’这一句话解释了当我在参观任何一个地方时,大脑都在超速运转的原因,因为我在试图理解这些空间,例如展馆的内外部之间的关系、龙安寺场地与花园之间的关系、石头之间的关系以及其中蕴含的更大的景观隐喻。这两个地方都深刻地启发着人们,在此人们会感觉自己如同一个物质,感受着与世界的关系。这些设计本身就体现了深刻的抽象思想,如同发现一个复杂的数学定理一般,这一切都是巨大的成就。通过将龙安寺的花园置于展馆的水池中,这一个新的创作让我再次强烈地感受到这两个设计的伟大。”

In the words of the artist:“The Ryōan-ji Garden in Kyoto and the Mies van der Rohe Pavilion in Barcelona are two of my favorite places in the world. In spite of their many differences, to me they are incredibly similar, in terms of how they generate thought about being a human seeing and moving through space. Wittgentstein said “Remember the impression one gets from good architecture, that it expresses thought. It makes one want to respond with a gesture” (Culture and Value, University of Chicago Press, 1984) and I find that when I am in either of these places my brain works in overdrive, trying to comprehend the space; at the Pavilion, the relationship between indoors and outdoors and the structure within the site and in Ryōan-ji with the stones in relationship with one another and with a larger metaphorical landscape. Both of these places are deeply human, they are about feeling oneself as a physical, living being in relationship to the world and also about a gargantuan achievement of profound abstract thought, almost like discovering a complex mathematical theorem. By dropping a version of Ryōan-ji into the reflecting pool of the Pavilion, by being able to see these two miracles of humanity next to each other, I am hoping that my brain will explode.”

▼设计师位于这片石头设计中,the designer is in this stone design

More: Spencer Finch。更多关于他们请至:Spencer Finch on gooood.

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