比利时根克布朗空洞迷宫/ Gijs Van Vaerenbergh-建筑新闻|雕塑装置-专筑网

比利时根克布朗空洞迷宫/ Gijs Van Vaerenbergh

2015-08-08 15356 Views iarch001

建筑, 建筑新闻, 雕塑装置, 迷宫, 比利时, 2015, Gijs Van Vaerenbergh, 钢材, 几何形状

由专筑网周韦博，刘庆新编译

Gijs Van Vaerenbergh事务所（一个由建筑师PieterjanGijs和Arnout Van Vaerenbergh组成的设计联盟）在比利时根克的c-mine艺术中心的广场上设置了一个迷宫一样的雕塑装置。这个装置的尝试来自于艺术家们对基础建筑类型学的兴趣和研究；他们早期的装置主要是以城门、桥、墙和拱顶这些结构为基础，但是在这次尝试中，他们使用“古老”形式的迷宫结构来探索人们在墙和空洞组合体间的空间体验。

Gijs Van Vaerenbergh, an artistic collaboration between architects PieterjanGijs and Arnout Van Vaerenbergh, have created a labyrinthine intervention at the heart of the c-mine arts centre in Genk, Belgium. The development of this sculptural-spatial intervention has its foundations in the artists' interest in fundamental architectural typologies; earlier installations of theirs have been based on structures like the city gate, the bridge, the wall, and the dome. Here, the "age-old" form of the labyrinth" is explored as a spatial experience in a unique composition of wall and void.

© Filip Dujardin

设计师将5毫米厚总重186吨的钢板立在37.5米见方的场地上，并在钢板上挖出较大的几何形状，最终形成了一个巨大的框架的集合空间。设计师们认为通过“一系列单调的廊道，来这里参观的游客将体验一种能够展现墙体背面的空间感受。”从某些角度，人们会看到一些片段的框架，而从另一些角度，他们则能感受到一个完整的形态。当然，有一些框架朝周边的环境开放，这对体验起到了引导的作用。

Standing at 37.5 metres square and weighing a total of 186 tons, the 5mm thick steel plates have been geometrically hollowed to create a collection of frames. The designers state that through a "monotonous succession of high corridors, the viewer is confronted with openings that reveal what is on the other side of the walls." Seen from certain perspectives, the cut-put frames are "fragmentary, whereas from other viewpoints the entire cut-out shape is revealed." Some of the frames also open onto the surrounding environment, which become points of orientation throughout the journey.

© Gijs Van Vaerenberge

© Filip Dujardin

© Filip Dujardin

© Filip Dujardin

而这个“迷宫”也跟整个C-mine艺术中心的肌理相呼应。当人们爬上古老的矿井，便可以鸟瞰整个装置，而且还可以看其他游客穿梭其中，这种视角原本只有设计师才能看到。对于Koen Sels，Gijs Van Vaerenbergh工作室的创作灵感来源于对原有认知（“建筑现在是什么”）的忽视，这样才能引导他们去探究“建筑可能是什么”；而对Sels来说，“这个迷宫可以揭示类型学的本质，而这体现在两个方面：一方面，它和传统的迷宫原理一样，能将人的运动引导至矛盾中；而另一方面，传统的结构通过一些布尔变形得到改变。”

“而且，整个生产和建造过程都体现在了最后的设计中。当游客登上附近的矿井，他们能够清晰地看到这个装置的平面，而这个视角是有悖于迷宫隐藏自己的初衷。”这个迷宫有别于设计师其他的作品，通过不断的问自己“这个雕塑想要什么？他们的设计师是谁？”，它更多地阐释了自身的机理，不仅仅在视觉方面，还在象征意义方面。

As such, it also interacts with the context of c-mine. "Ascending the old mine shafts, one can witness the structure from above and look down towards the wandering visitors (a point of view that is usually only reserved for the creator of the labyrinth." For Koen Sels, Gijs Van Vaerenbergh's work "originates from a staged ‘ignorance’ about what architecture is, which leads them to investigate what it could be." For Sels, the "Labyrinth is a typology that reveals itself as a typology. On one level, this happens by directing the movements of the user to an absurd extent, as is also the case in the classic labyrinth. At the same time, however, the traditional structure is transformed by a series of Boolean transformations."
"Furthermore, the production and construction processes remain visible in the final design. Visitors who ascend the mine shafts nearby, can view the labyrinth as a materialised floor plan and sculptural whole – a perspective that runs against what a labyrinth should do: conceal itself. More than any of their other works, Labyrinth situates itself within the (institutional) context, not only visually, but also symbolically, by asking: what does this sculpture want? And what are their authors after?"

Plan/平面图

© Gijs Van Vaerenberge

© Gijs Van Vaerenberge

© Filip Dujardin

来自设计师的描述：

“我们大部分特定场地的选择都经过了对该处环境深入的研究，这种方式在作品和情境中创造了一种有趣的对话：作品和情境能够互相表达。在我们最著名的设计作品‘线中阅读’中，我们表达不同物理和文化环境下教堂类型学意义的不同。而这个作品只有在特定的情境下才能被理解，只有通过环境地形学的分析我们才能领会作品不同的层次：随着观者视角的变化，他们看到的可能从一个透明和开放的形象转变为厚重和封闭的形象。

而如果在另外一种情景下，这个装置则不能得到很好的表达。而C-mine中心广场就是一个不同的环境。在这里，我们面对的是一个人工的、被设计的、大尺度的情境，这并不适于一个相似的装置。因此，我们选择构建一个内向型的装置，并且着重处理空间与它的关系。我们的灵感来源于一种重要的建筑类型：迷宫。某种程度上，它是一种重要的建筑形式——仅仅由墙体构成。而一系列的布尔变形则又生成了一个开放的视角，这赋予了迷宫新的含义。最后，登上矿井后的鸟瞰视角又揭示了与环境的另一个有趣关系。

这个展览一直持续到2015年9月30号。该装置的结构设计者是Bollinger 和Grohmann，而施工者是MeuwesLaswerken.

From the designers:
Most of our site-specific installations result from an in-depth analysis of the environment, which leads to an interesting dialogue between work and context: the work tells something about the context and vice versa. In the case of ‘Reading Between the Lines’ – our most famous installation – the work spoke about the changing meaning of the typology of the church in the physical and cultural landscape. ‘Reading between the Lines’ really needed that context to be understood. It was only through the topography of the landscape that the different aspects were revealed: the perspective of the viewer transformed the work from a highly transparent and open image into a very massive and closed one.
In any other context, the installation wouldn’t have worked. The central square at C-mine is a completely different environment. Here, we were confronted with an artificial, highly designed, large-scaled context that wasn’t very welcoming to make a similar installation. We therefore chose to build an installation that was directed inwards and dealt more strongly with space and one’s relation to it. We did so by looking for inspiration in a primal architectural typology: the labyrinth. In a way, this is an essential form of architecture, which is only composed of walls. A series of Boolean transformations, however, generates openings and perspectives on the environment, which gives the labyrinth a new meaning. Finally, the ascension of the mine shafts are included in the experience in order to create another interesting relationship with the environment.
You can see this installation at c-mine in Genk until the 30th September 2015. The installation was engineered by Bollinger + Grohmann and executed by MeuwesLaswerken.