启皓客厅空间装置,北京 / Crossboundaries




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2019年12月22日,由启皓文化基金会委约Crossboundaries建筑事务所创作的艺术装置作品“千江月”与“万里天” 正式亮相启皓客厅。该组装置是向启皓文化即将上新佳作《卢浮宫的幕布之后》的一种“艺术折射”与文化致敬。

“Thousand Moons”and “Cloudless sky”are two sister installations situated in the lobby that connects two Genesis towers in downtown Beijing. Commissioned by the Genesis Cultural Foundation, the installations are intended to promote the foundation’s upcoming book ” Dans les coulisses du musée du Louvre “.

▼启皓客厅全景,overview of Genesis tower lobby ©郑垚 杨超英


Executed in the same material, the two pieces represent the two different takes on the same idea – the one of pyramidal void symbolizing the Louvre as the subject that is being described but resides elsewhere.

▼装置轴测图,axonometric drawing ©Crossboundaries,北京

南侧入口的装置名为“千江月”(尺寸:1m x 1m x 0.7m),灵感来源于宋 《普灯录》之中一首十分有名的偈语:千山同一月,万户尽皆春。千江有水千江月,万里无云万里天。

The installation at the south entrance is called the Moon Mirage- a name inspired by Buddhist chant Jiatai Pudenglu from Southern Song Dynasty: A thousand streams mirror a thousand reflections of the moon on high; myriad miles of cloudless blue reveal myriad miles of the majestic sky.

▼“千江月”置于南侧入口,“Moon Mirage” located at the south entrance ©郑垚 杨超英


▼金字塔型结构,pyramid surface ©郑垚 杨超英

As you approach the mysterious brushed steel box, an inverted bottomless pyramid is revealed inside. The pyramid surface is reflecting the ceiling above, triangulated and transparent, much like the Louvre’s pyramid skin. As you move further the reflection’s regular geometry gives way to other, less defined shapes and colors, almost as if melting into an impressionist painting. The experience is reminiscent of the Louvre but at the same time highly subjective.

▼通过体镜面解构呈现空间,reflection of  the space with mirror material ©郑垚 杨超英

置于北侧入口的另一个装置名为“万里天”(尺寸:1m x 1m x 2.2m),镜面侧板倒映出人来人往纷杂的镜像,而不变的是中间这个由”空”围合而成的金字塔型。与作品<千江月> 两相呼应:一个是由实面围合而成的金字塔,另一个则是借助”空“形成金字塔形状。一虚一实。外星探测器本身的造型和周围的景观形成了十分特别的对比。装置玻璃墙体映照出熙熙攘攘川流不息的过路者,每个生命则更为镜面中所反射的景象增添了动感和变化。视觉本身带来一种思考,而参观者倘徉其中,也会对真实与幻象产生思索。

▼“万里天”置于南侧入口,“Cloudless Sky” located at the nouth entrance ©郑垚 杨超英

▼“万里天”立面,elevation of “Cloudless Sky” ©郑垚 杨超英


In contrast with the “Moon Mirage”, the “Cloudless Sky”- piece placed on the north entrance directs the reflection toward the dynamic viewer and the surrounding, contrasting it with the motionless central void which remains unaffected by the precarious environment. The central void, a pyramidal shape defined by its thin outlines, represents the timelessness of great values. The great values, like the majestic sky, can only be seen when the mundane distractions are filtered out by the viewer. Thus, myriad miles of cloudless blue reveal myriad miles of the majestic sky.

▼玻璃墙体反射出动态的环境,glass wall reflects dynamic environment ©郑垚 杨超英



▼过往行人与装置间的互动,interaction between passing pedestrians and installations ©郑垚 杨超英

The two installations are both compatible and antonymous, both contemplating perception of emptiness but one an enclosed mystery box that draws you close and points your gaze to the sky and other a kaleidoscopic illusion that follows you as you move keeping the void at its base perfectly still and ever-present.

Crossboundaries’ ventures into the world of installations is always an attempt to engage with the context, giving commentary or a new outlook of the space in which it’s placed or inviting people to immerse in an amplified perception of the surrounding and of themselves.

In the case of the already vivid and domesticated public space of the Genesis towers lobby, often referred as “the living room”, the reflections direct your attention to the parts of space that you might have not noticed before, but it also gives you a chance to quickly glance at your reflection on the way to the office, enjoy more sunlight while drinking your coffee in the lounge area or engage in conversation with someone that has also stopped to look at the new object in your common surrounding.

The opportunity for an architecture studio to test the possibilities of small scale element such as installation gives us another perspective of the power of simple materials and forms that can become a strong device for fostering interactions within a space and broaden its intended use. The installation is open to public since December 22nd to end of March 2020.

▼通过装置引发人们关注与思考,arousing public’s attention and thinking through installation ©郑垚 杨超英

The highly reflective steel and the clean geometric forms of both installations elegantly relate to the space of the lobby which is also based on symmetry, architectural order and plenty of daylight that enters through triangulated glass ceiling and curtain wall envelope. It is exactly these reflections of surrounding space that both pieces rely on in order for their symbolic intentions to be complete. This relationship with the surrounding space that gets deconstructed and reinterpreted through the installations makes them site specific in a very architectural sense, despite their pure and abstract form. The dynamics between the pieces and the surrounding extends on the users of the space: depending on where you approach from and in which hour of the day, the reflection you see changes and allows for more than one experience – an important trait for the space where most users pass through the lobby every day on their way to work.

▼装置结构拆分图,structure drawing of the device ©Crossboundaries,北京

项目名称: 北京启皓镜面装置 <千江月> <万里天>
地点: 中国,北京
客户: 启皓文化基金
完成时间: 2019年12月
尺度: 1m x 1m x 0.7m; 1m x 1m x 2.2m
主要材质: 不锈钢
设计方: Crossboundaries, 北京
合伙人: Binke Lenhardt, DONG Hao
设计团队: Marijana Simic, 崔雨柔, 郝洪漪, 于泓浴
摄影: 郑垚 杨超英

Installation Name: Moon Mirage, Cloudless Sky
Location: Beijing, China
Client: Genesis Culture Foundation
Completion Date: December 2019
Dimension: 1m x 1m x 0.7m; 1m x 1m x 2.2m
Material: Stainless Steel
Architect: Crossboundaries, Beijing, China
Partners in charge: Binke Lenhardt, DONG Hao
Design team: Marijana Simic, Cynthia Cui, HAO Hongyi, YU Hongyu
Photographers: ZHENG Yao, YANG chaoying 

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