DevolutioN PROJECT on Shanghai Fashion week / Devolution Architecture Studio

The collapsed obelisk provides a peek at the unknown.

Project Specs


来自 退化建筑 对gooood的分享。更多关于他们:DevolutioN on gooood
Appreciation towards DevolutioN for providing the following description:

“退化建筑在上海时装周 2017 ONTIME SHOW 上建了一座倒塌的建筑。
DevolutioN built a collapsed architecture on Shanghai fashion week ontime show.

▼ 倒塌的方尖碑搭建记录视频,construction process


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.

▼ N38°53’21.35″ W77°2’6.48″ 作品全貌,the appearance of the project

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SUPERMAFIA / ENCOR 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 SUPERMAFIA / ENCOR Studio.

▼ 展厅根据中轴线来布置作品,art works in the exhibition is displayed on the central axis


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.

▼ 由入口进入倒塌的方尖碑,the entry is placed at the bottom of the installation piece

▼ 倒塌的方尖碑内部空间,internal space of the project

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.

▼ N38°53’21.35″ W77°2’6.48″

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,只是旧与新的轮替。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,倒塌与待建立的悬而未决。

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.

▼ 展览空间,the exhibition space

▼ 平面,Plan


Author: Wang Qi
Translator: Lin Xiao
Film Director: Yang Lutong
Film Editors: Wang Haiqing
Photographer: Xu Xiaodong
Host architect: Tang Jiansong
Design team: Wu Zhijiang, Lin Xiao, Huang Longtao

More: Devolution Atchitecture Studio,更多关于他们:DevolutioN on gooood 

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