設(shè)計單位? c+d設(shè)計中心

項目地點? 上海松江

建成時間? 2024年7月

用地面積? 96平方米

本文文字由設(shè)計單位提供。

近日，上海松江醉白池公園邊的云間會堂文化藝術(shù)中心，舉辦了一場以“造化——新江南空間藝術(shù)”為題的展覽。此次展覽由同濟大學(xué)建筑與城市規(guī)劃學(xué)院與上海松江區(qū)文化和旅游局聯(lián)合主辦，旨在挖掘江南文化的傳統(tǒng)底蘊與現(xiàn)代內(nèi)涵。

Recently, an exhibition titled “Creation | New Jiangnan Space Art” was held at the Yunjian Huitang Cultural and Art Center beside Shanghai Zuibaichi Park in Songjiang District. The exhibition was jointly organized by CAUP Tongji University and Shanghai Songjiang District Culture and Tourism Bureau, aiming to explore the traditional and modern connotation of Jiangnan culture.

董屹受邀參展，并創(chuàng)作了作品《游目園》。該作品由董屹的空間裝置和旅美藝術(shù)家呂無咎（1918-2013）的繪畫共同構(gòu)成。

Mr. Dong Yi was invited to participate in the exhibition and created the work “Garden for the eyes”, which consists of a spatial installation by Mr. Dong Yi and paintings by American artist Ms. Lyu Wugiu (1918-2013).

▲ 展覽空間視頻? 攝制：DC國際

在中國文化圖景中，作為一個空間概念的“江南”始終是美好生活的重要承載。江南城鎮(zhèn)擁有豐富的傳統(tǒng)空間，其中的“園林”，無疑是最能體現(xiàn)傳統(tǒng)中國人居理想與審美境界的類型。對中國人而言，自成天地的園林是“天與人”的合一，是“市與野”的平衡，是“身與心”的安所。

In Chinese cultural view, “Jiangnan” as a spatial concept has always been an important bearer of wonderful life. Jiangnan towns are rich in traditional spaces, among which the “garden” is undoubtedly the type that best reflects the ideals and aesthetics of the traditional Chinese habitat. For Chinese people, a garden that forms its own heaven and earth is the unity of “heaven and human”, the balance of “city and wild”, and the resting place of “body and mind”.

對于一個受江南文化浸潤的建筑師，提到江南，園林幾乎是最恰當?shù)谋磉_。于是我們決定以空間裝置的方式造一座園，以簡素的材質(zhì)塑造空間的純粹性，使觀游者獲得園林空間本質(zhì)的趣味。

For an architect who has been immersed in the culture of Jiangnan, when it comes to Jiangnan, garden is almost the most appropriate expression. Therefore, we decided to create a garden in way of spatial installation, shaping the purity of the space with simple materials, so that the visitors can obtain the essential interest of the garden space.

展區(qū)場地大小只有16米×6米，要在這么小的場地里造一座具有豐富游覽體驗的園林，幾乎是不可能的任務(wù)。為此，我們將觀游尺度收縮至單人單向，強調(diào)以頭目動作為主的探索體驗，由此營造出一進二出、40米長的游園線路，足以呈現(xiàn)園林空間的曲直、疏密、幽曠，達到“游目足以騁懷”的效果，因此，園以“游目”為名。

The size of the exhibition area is only 16m*6m, which makes it almost impossible to create a garden with rich tour experience in such a small site. For this reason, we condensed the scale of the tour to a single person one-way, mainly emphasizing the exploring experience of the head and the eyes. Thus, we created a 40-meter-long touring route with one entrance and two exits, which was sufficient to present the twists and turns, sparseness and openness of the garden space, to achieve the effect of “Eyes looking around, heart open wide”. Therefore, the garden is named “for the eyes”.

《游目園》通過空間的凝縮將體驗集中到感官本身，取“游目騁懷、信可樂也”之意。空間設(shè)計源于“醉白池”局部的空間構(gòu)架，以院、橋、井、廊為基本空間元素，從場景、空間、序列的角度進行重新演繹。

Through the condensation of space, the Garden for the eyes focused its experience on the senses themselves, taking the meaning of “Wandering around and enjoy yourself”. The spatial design was derived from the localized spatial structure of Zuibaichi, taking courtyard, bridge, well and corridor as the basic spatial elements, and reinterpreting from the perspectives of scene, space and sequence.

作品通過對園林尺度的收縮，將人在自然環(huán)境中的行為空間進行適應(yīng)最小人體尺度的轉(zhuǎn)換，抽象重組之后的園林懸于半身高處，僅容一人單向而行。

Through the contraction of the scale of the garden, the work transforms the space of human behavior in the natural environment to adapt to the smallest scale of the human body, and after the abstract reorganization, the garden hangs at the height of upper half of the body, allowing only one person to walk in one direction.

作品將人上半身攏于遮罩之中，院需探首、橋不及膝、井可貼眉、廊僅容肩，由此在行進中可以心無旁騖，以目為身，緩步移動中將對世界的感知匯聚于轉(zhuǎn)頭之間。

The upper half of the human body was shrouded in the coverings, where people need to crane their necks to watch the courtyard, bridge lower than their knees, wells close to their eyebrows, corridor barely wide enough for only one shoulder. While wandering in the garden, one can be free from distractions, using eyes instead of body, the perception of the world converging with each turning of his head.

對此作品來說，游目是過程：從無心一瞥到顧盼環(huán)視，從虛目遠眺到瞠目盈眶，橫目可得院之全貌、縱目可隨橋之俯仰、側(cè)目可窺井之所藏、極目可窮廊之遠方。

For this work, eye-wandering is the process: from an inadvertent glance to looking around, from a distant look to occupying the whole field of vision, the courtyard can be fully viewed from side to side, the bridge can be looked up and down, the hidden well can be found through a casual glance, the depth of the corridor can be measured through a distant watch.

騁懷是結(jié)果：身未動，心已遠，于轉(zhuǎn)眼之間經(jīng)開闔之變，于寸尺之間尋園室之趣，于明暗之余得觀游之樂。

Mind open wide is the result: the body yet to move, the heart been far away, great changes being experienced in a twinkling of an eye, interest of exploring the garden being experienced between square inches, joy of wandering being experienced between brightness and darkness.

同時，此園既是展品也是另一個層次的展示空間，以園載畫，展中有展。園的抽象使空間更為純粹，將視覺焦點轉(zhuǎn)移到畫上，畫則成為線索，通過不停的提示和反復(fù)引導(dǎo)人對空間的探索。

At the same time, this garden is not only an exhibit but also an exhibition space in another dimension. With paintings presented in the garden, another exhibition contained within the exhibition. The abstraction of the garden makes the space purer, shifting the visual focus to the paintings, which become the clues, guiding people's exploration of the space through incessant hints and repeated guidance.

展出的畫作是一套以吳梅村的《鴛湖曲》為題的水墨抽象畫復(fù)制品（原畫目前館藏于西雅圖藝術(shù)博物館。作者生長在江南，后漂泊在外六十余年，在上世紀60年代初開始嘗試水墨抽象畫，是當代水墨抽象繪畫的先驅(qū)者之一），共27幅。作者以詩意入畫，憑直覺寫自己的內(nèi)心感受，筆墨共情，描寫了江南風(fēng)物的滄桑興亡，也抒發(fā)了深藏心底的江南鄉(xiāng)愁。

The paintings on display are a set of reproductions of abstract ink paintings on the theme of Wu Meicun's poem “Yuanhu Qu”, with a total of 27 paintings. (the original painting is currently in the collection of the Seattle Art Museum. The author grew up in Jiangnan, then drifted away for more than sixty years. And she began to experiment with abstract ink painting in the early 1960s, as one of the pioneers of contemporary abstract ink painting) The author painted with poetry, and recorded her inner feelings with intuition. The brush and ink share her feelings, depicting the vicissitudes of the scenery in Jiangnan, and also expressing the nostalgia of Jiangnan that is deeply hidden in her heart.

在這里，抽象的園與畫的共同之處在于其對創(chuàng)作過程的展示，“游目園”分解重構(gòu)了游園的體驗經(jīng)歷，“鴛湖曲”則展示了對詩意進行解讀的筆墨進程，同時空間成為呈現(xiàn)畫作的容器，并將這種呈現(xiàn)的過程以清晰的方式展現(xiàn)出來。

Here, the commonality between the abstract garden and the paintings lies in the display of the creating process. “Garden for the eyes” deconstructed and reconstructed the experience of wandering in the garden, while “Yuanhu Qu” demonstrated the process of ink and brushwork of interpreting the poetry of the poem. At the same time, the space of the garden became a container for presenting the paintings, the process of which was shown in a clear way.

作品對每一幅畫作與其所屬的空間都進行了定義，通過位置經(jīng)營，一些畫作會在游目過程中多次出現(xiàn)，在遠近露藏之間成為游園的向?qū)А?/p>

“Garden for the eyes” defined each painting and the space where it belonged to, and through the management of locations, some paintings would appear more than one time in the course of eye-wandering, as a guide to the garden between near and far, exposure and concealment.

行進中每一次轉(zhuǎn)折都是時空場景的重新建構(gòu)，畫作與空間的關(guān)系通過不停地重組將空間的敘事和畫作的解讀融為一體，起承轉(zhuǎn)合之間縈繞著跨越了六十年的淡淡鄉(xiāng)愁，共同展現(xiàn)了關(guān)于江南的某種抽象記憶。

Every turning in the course of eye-wandering is a reconstruction of the space-time scene. The relationship between the paintings and the space is constantly reorganized to integrate the narrative of the space and the interpretation of the paintings. Between the spatial ups and downs of the garden, lingered the faint nostalgia spanning over sixty years, and the joint exhibition demonstrated some kind of abstract memories of Jiangnan together.

—

材料選擇

素以為絢。為了實現(xiàn)抽象園林的藝術(shù)效果，材料的選擇被控制在極簡的程度。整個裝置幾乎全部由紙構(gòu)成。手工紙親近自然的質(zhì)感，與園林和水墨畫的意蘊氣質(zhì)相合。

Simplicity is splendor. In order to achieve the artistic effect of an abstract garden, the choice of materials was kept to a minimalist level. The entire installation is almost totally composed of paper. The texture of handmade paper is close to nature, which is in line with the implication and temperament of the garden and the ink painting.

我們選擇安徽涇縣生產(chǎn)的手工構(gòu)皮紙作為空間界面的材料。這種紙，纖維清晰、厚實柔軟、透光適當，給人溫暖的感覺。紙質(zhì)輕盈，便于吊掛，可根據(jù)展陳需求進行更換和維護。

We chose handmade leatherette paper produced in Jing County, Anhui Province as the material for the spatial interface. This kind of paper has very clear fibers, thick and soft, transmits light appropriately, and gives people a warm feeling. The paper is lightweight, easy to hang, and can be replaced and maintained according to the needs of the exhibition.

裝置的框架歷經(jīng)鋁型材、竹竿、亞克力等材料的討論，綜合考慮到構(gòu)造連接的效率、造價、穩(wěn)定性和質(zhì)感等因素，最終選擇3厘米截面的松木方桿作為空間的骨架。松木質(zhì)輕，隱于紙后，預(yù)制安裝方便，吊掛之后不易變形。

The frame of the installation has gone through the discussion of aluminum profiles, bamboo poles, acrylic and other materials, taking into account the efficiency of the construction of the connection, cost, stability, texture and other factors. Finally, we chose square pine poles with the cross-section size of 3cm*3cm as the skeleton of the space. Pine wood is lightweight, concealable behind papers, easy to prefabricate and install, and hard to deform after hanging.

松木框架按照分區(qū)被固定在“T”字鋁型材上，用細鋼索吊掛于上方梁架?！俺亍焙汀霸骸眱?nèi)的“天空”采用半透明pp磨砂片，上方布燈，模擬天光；“地面”用褶皺錫箔紙抽象表達池水波光。松樹皮鋪陳在地面，勾畫出游園的路徑，同時也讓游者對這個紙作的室內(nèi)園林，揚起幾分野逸的想象。

The pine frames are fixed to the “T” aluminum profiles according to the zoning, and hung from the upper beams with thin steel cables. The “sky” of the “pond” and the “courtyard” is made of translucent pp frosted sheet, with lamps above to simulate the sky light; the “Ground” is made of folded tin foil to abstractly represent the water of the pond. Pine bark is spread on the ground, outlining the path of the garden, and at the same time, raising a few wild imaginations of visitors for this indoor garden which is made of paper.

完整項目信息

項目名稱：游目園

項目類型：裝置

項目地點：上海市松江區(qū)云間會堂文化藝術(shù)中心

設(shè)計時間：2024.6.1—2024.6.15

建設(shè)時間：2024.7.1—2024.7.20

用地面積：96平方米

設(shè)計單位：c+d設(shè)計中心

聯(lián)系方式：branding@dccd.com.cn

主創(chuàng)建筑師：董屹

設(shè)計團隊：賀瑋瑋、華元祺、陳少奇

施工：Art Zhou

業(yè)主：松江區(qū)文化和旅游局、云間藝術(shù)會堂

攝影：c+d設(shè)計中心、DC國際

本次展覽作品由董屹的裝置、呂無咎的繪畫共同構(gòu)成。

助理策展：賀瑋瑋、華元祺、陳少奇

圖片版權(quán)：c+d設(shè)計中心、DC國際

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