Perception
由专筑网朱王倩，刘庆新编译
今年这季的另外一个展览是建筑师Jan Šépka的项目，我们不只是想提供一次体验、认知环境的画廊，以及广场上有些不同的建筑展览，还有是主要展示关于不只是艺术和建筑等，包含城市概念的许多问题——作为日常生活一部分的地点。
Another exhibition for this year's season is a project by architect Jan Šépka, with which we want to offer not only the opportunity to experience and perceive the environment gallery and the square within the set of architecture exhibitions a bit differently, but mainly to present a series of questions and to open issues concerning not only art and architecture as such, but above all the perception of the city – a location as part of everyday life.
© Tomas Maly
展览不仅基于艺术建筑介入，还作为一种补充：每周二下午六点，来自各领域的专家、艺术家、建筑师和政治家的客人，一系列关于历史和城市广场的历史及其使用，以及当代艺术与建筑的关系话题的讲座和讨论。
This exhibition is not only based on artistic architectural interventions as such, but will also be supplemented, every Tuesday from 6:00 pm with the attendance of guests from the range of experts, artists, architects, and politicians, by a series of lectures and discussions for the public on topics related to the history and present of the town square and its use, as well as to the relationship of contemporary art and architecture.
© Tomas Maly
感 知
该项目是我们考虑公共空间主要特征的重要组成部分和反映，以及我们如何感知提供给我们的社会和文化活动城市里某些隐藏的空间。
PERCEPTION
The project is a reflection on what we consider to be an important part and dominating feature of public space, and how we perceive certain hidden spaces that provide us with social and cultural activities.
© Tomas Maly
巴洛克式的喷泉，位于České Budějovice的Přemysl Otakar II广场上，是城市最大的喷泉，是城市的重要地标和象征。它的艺术品质是不可否认的，现在没有人能想象没有这一地标的广场会是什么样子。然而问题是是否我们仅仅在不自觉地感受这样的地标。我们每天经过它们，并且因为它们的价值被认为具有历史和空间意义，不再考虑纪念碑的本质也不思考它和宏伟的广场之间的关系。
The Baroque Samson Fountain, located on the Přemysl Otakar II Square in České Budějovice, is one of the largest of its kind in the country and represents a significant landmark and symbol of the city. Its artistic quality is indisputable, and currently none of us can imagine the square without this landmark. The question may be, however, whether today we perceive such landmarks only involuntarily. We walk past them every day, and since their value is confirmed both in history and in space, we no longer think about the nature of the monument nor of its relationship to the grandiose square.
© Tomas Maly
相反地，艺术屋二层的空间近些年已经提供了高质量的艺术体验，模糊我们的双眼。一位游客没有意识到环境很难找到画廊。很明显一些保密性的形式也可以是画廊的优势，尽管如此，还有来自展览的体验以及关于艺术和日常剧目中消失的文化的讨论。
Conversely, the spaces on the first floor of the House of Art, which in recent years have offered very high quality artistic experiences, are blurred before our eyes. A visitor unaware of the situation will be hard pressed to find the gallery. It is clear that some form of confidentiality can also be an advantage to a gallery space, nonetheless, the experience from the exhibition and any discussion about art and culture disappear from our normal daily repertoire.
© Tomas Maly
Plan/平面图
项目尝试展示我们是怎样感知或不感知，地标和隐藏的空间就在不远的地方，位于事件的中心，并为不同文化体验提供机会。目的是打破我们这些价值观的定势思维，去唤醒对这些话题的反思和讨论。
The project attempts to show how we perceive, or do not perceive, the landmarks and hidden places that are not far apart and which are located in the center of events and offer the opportunity for cultural experiences. The purpose should be to break down our stereotypical perceptions of these values and to awaken a desire for reflection and discussion on these topics.
© Jan Sepka
大约一个月，the Samson喷泉会出现在圆形的空间里，一方面将它与广场隔离，另一方面为这一地标创造一个安静的背景和私密空间。喷泉像是变成画廊里的宝石。圆形的空间将直接连接楼梯至艺术屋二层空间，在这儿又出现圆形，但是是在其他情况下发生的。进入画廊的游客能够沿着确定的环形路移动，将不是到达画廊的开放空间。游客通过天花板感知空间，它不会安装在室内走廊里。故意的喷泉失窃以及通过窗户强调艺术屋入口，是项目的主要意图。看似无关的事情发生有趣的冲突。 (J. Šépka)
For about a month, the Samson Fountain will find itself in a circular space that on one hand will separate it from the square and, on the other, create a quiet background and intimacy for it that this landmark has never had. The Fountain will thus become like a jewel in a gallery. The circular space will be directly connected to the stairs with the space on the first floor of the House of Arts, where the circle will appear again, but in other contexts. Visitors to the gallery will be able to move only along a defined circular path and will not actually reach the open space of the gallery. The visitor will only perceive the space through the ceiling, which will not be installed in the indoor promenade. The deliberate theft of the fountain and highlighting the entrance to the Art House through the window is the entire purpose of the project. Things that are seemingly unrelated enter into an interesting confrontation. (J. Šépka)
© Tomas Maly
© Jan Sepka
© Tomas Maly
© Jan Sepka
© Jan Sepka
© Jan Sepka
© Jan Sepka
© Jan Sepka
© Jan Sepka
Diagram/图解
Diagram/图解
Diagram/图解
Diagram/图解
Diagram/图解
建筑设计：Jan Sepka
地址：捷克、捷克布杰约维采
策展人：Michal Skoda
面积：100平方米
项目时间：2016年
建筑摄影：Tomas Maly, Jan Sepka
建造商：Drevoskelet Kaplice
Architects: Jan Sepka
Location: Ceske Budejovice, Czech Republic
Curator: Michal Skoda
Area: 100.0 sqm
Project Year: 2016
Photographs: Tomas Maly, Jan Sepka
Manufacturers: Drevoskelet Kaplice
出处：本文译自www.archdaily.com/，转载请注明出处。
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