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“童年的印记”是一个雕塑景观，以硕大延展的形式展现在Boudines地区。它占地2600 m²，形态酷似Jura地区广阔起伏的地貌景色。

The Fold’s childhood is a sculpture-landscape, monumental and elongated in the land of the place called Boudines. It takes part to a surface of soil of 2600m². Its forms are an interpretation of the force that spawned landscapes of the Jura massif (Jura folds).

▼雕塑景观远景，view from a distance

与两个严肃体系相遇
该雕塑景观位于设计风格方方正正的Meyrin公园，并紧邻具有平坦外立面的École des Boudines大楼，而这个雕塑景观呈现的则是曲线起伏的形式。这被认为是一种白板原则的体现，来表现对已有的Meyrin公园形式的有意回避。在当今“激进的”城市里，该艺术项目所描绘的正是一种与城市规整笔直面貌背道而驰的景观形式。

Meeting of 2 formal systems:
In the orthogonal landscape of Meyrin-park and near the flat facades of the École des Boudines, sculpture-landscape emerges in curves and volumes. It is a response to the principle of tabula rasa, to the deliberate ignorance of the pre-existing landscape that presided over the realization of Meyrin-park. Within the modern “radical” city, the artistic project inscribes a set of differentiated forms, extraordinary in the context of the orthonormal city.

▼俯视该雕塑景观所在场地，仿佛是一张Jura地区的地貌图片，overlook the site of sculpture landscape which looks like the picture of Jura

地形图的回归
该雕塑体系以动态起伏的形式在École des Boudines大楼的室外地面上自由展开，宛若从Meyrin公园冷漠的直线形式中解放出来。

The return of the topographical plot:
The formal system of sculpture freely develops its dynamic undulations in the ground of the exterior spaces of the École des Boudines, freed from the relentless formal system of the straight lines of Meyrin-park.

▼雕塑景观与周边冷漠的建筑环境形成对比，the form of the sculpture contract with its surrounding

涉及的地点
“童年的印记”这个雕塑景观的设计思想是将一个景观嵌入到另一个景观中。该景观在这个场地中既涉及到了物理层面，也涉及地域范围上的地理层面。而这种将雕塑景观（曲线形式）嵌入到现有场地（直线形式）中，以对比的形式强化了场地特征。

The site involved
The principle of the sculpture-landscape of the fold’s childhood is that of the inscription of one landscape in another. On the one hand, the site is involved in its physical dimension, and on the other hand in its geographical dimension at the territorial scale. Existing site features (straight lines) are exacerbated by the contrasting effect of the inscription of the sculpture-landscape (curves).

▼该雕塑景观仿若嵌入已有的景观当中, the sculpture seems like the inscription of the existing landscape

▼该雕塑景观与场地紧密结合, the sculpture landscape closely integrates with the earth

▼该雕塑景观与道路系统合为一体, the sculpture landscape combines with the road in the park

▼雕塑景观与地形无缝衔接, the sculpture landscape seamlessly incorporates with the designed topography

空间和时间的游戏
从高处看，“童年的印记”像是一张Jura山起伏地貌景观的图片铺在地上，这个景观其实是一个假山模型。其形态可以满足人们在其中行走。不同于一般的平坦地面，这种折叠起伏的空间形式为孩子们提供了更多样的玩耍体验。由近到远，从起伏的曲线地面到建筑天际线，身处其中孩子们会随着地形的变化观察和体会到 MEYRIN-PARC的天空，valley of Geneva以及Jura的山地。

Games of space and time
From the heights, one can see the Fold’s childhood as a picture evocative of the folded and undulating landscapes of the Jura, a model imaginary site of the mountains lying. It is a set of shapes that can also be traveled, paced. The spatiality of the fold offers the children a physical experience of the curve and a variety of situation differentiated in the space of the pleated floor. From the near to the far, from the fold of the curve to the stretched line of the architectural horizon, the bodies and the eyes of the children find articulations, enter into a new relation with the immensity of the sky of MEYRIN-PARC, Beyond the valley of Geneva and the massifs of the Jura.

▼孩子们可以在场地内进行各种活动，kids could take various of activities on the site

艺术和景观
“童年的印记”是被刻画在Meyrin 公园的雕刻艺术品。处在公园与建筑物之间，建筑与景观之间，它质疑着艺术品以及作为艺术品的景观在公共空间中的地位。由于这个作品是由景观设计师设计的，因此含蓄地反映了一个景观设计中有关创造性的问题，景观设计师是否是艺术家？这个问题并不是暗示要将所有的空间设计都当成艺术品来设计。但具备双重身份的Gilles Brusset 事务所，同时指导景观设计和艺术活动，因此，设计师有意将创意行为融入到景观设计中，使作品具备艺术性。

Art and landscape
The fold’s childhood is a work of art carved in the field of Meyrin-park. Located between the park and the buildings, between architecture and landscape, it questions the status of art in public space and landscape as a work of art. Designed with the tools of the landscaper, the work implicitly poses the question of the part of creation that can involve the profession of landscaper. Is the landscape architect an artist? The nature of the commands does not automatically imply the design of a space under the sky – arrangement – as an act of creation. The double status of Gilles Brusset, directing a landscape agency as a parallel of his artistic activity, makes it possible to conceive the conception of landscapes as acts of creation and the conception of works of art as landscapes.

▼雕塑夜景，其抽象的大地景观形式体现着设计师将艺术创作融入到景观当中的设计思路，night view of the sculpture landscape，its abstract form embodies the design principle of combining art and landscape.

艺术与工程
该项目将普通用于道路和高速公路上材料用于公园建设中，制造出了一种和以往日常空间截然不同的形式。

Art and civil engineering
The diversion of ordinary materials from roads and expressways to the benefit of a garden work of art has led to the appearance of extraordinary forms in the daily space.

▼建造中的雕塑景观，under construction

▼道路材料在该景观中的使用效果，the effect of using highway materials into landscape design

▼场地模型，model

▼该景观效果图，design sketch of the site

▼场地平面图，plan

▼场地剖面图，section

Location: Meyrin, Switzerland
Designer(s): Gilles Brusset
Commissioned by: Fonds d’art contemporain de la ville de Meyrin
Area: 2250m²
Budget : 220 000 FCH
Period of design: 2014
Implementation period: 2017
Construction: JACQUET PAYSAGE
Images credit: Gilles Brusset, Laurent Barlier, Binocle, Pierre-Yves Brunaud

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