Studio Job 在 KunstKerk 前创作“古典教堂窗户的超现实主义风格”
Studio Job creates "surrealist take on classical church windows" in front of KunstKerk

由专筑网澄镜之水，小R编译

总部位于荷兰的 Studio Job 为荷兰艺术学院 KunstKerk 设计了一个名为 The Embrace 的弯曲青铜和玻璃雕塑，作为对传统彩色玻璃窗的幽默更新。

这是Studio Job 有史以来最大的雕塑，The Embrace 以位于荷兰多德雷赫特的一座前教堂的 KunstKerk 外墙轮廓为基础。

Netherlands-based Studio Job has created a curved bronze-and-glass sculpture named The Embrace for Dutch art institute KunstKerk as a humourous update on traditional stained-glass windows.
The largest sculpture ever created by Studio Job, The Embrace was based on the outline of the facade of KunstKerk, which is located in a former church in Dordrecht, the Netherlands.


▲ 大型青铜雕塑位于多德雷赫特的 KunstKerk 艺术学院前
The large bronze sculpture is located in front of the KunstKerk art institute in Dordrecht

“建筑师 Andries Lugten 和开发商 Dudok 要求我创造一些东西来帮助他们提出重建建议。”Studio Job 创始人 Job Smeets说。

“所以我的想法是利用建筑物的背面，这是一个未使用的空间，但有可能成为艺术教堂和艺术电影院之间的联系。”

Smeets 用青铜和彩色玻璃手工制作了这座 13 米高的雕塑，工作室将其描述为“对古典教堂窗户的超现实主义演绎”。

最终的设计具有两个起伏的“窗户”，它们似乎在一个较小的中央窗户上方相互伸展。

每个都安置在同一个大型有纹理的青铜框架内，顶部是一个装饰性的两米高的公鸡雕塑，重达 300 公斤。

"The architect, Andries Lugten, and the developer, Dudok, asked me to create something to help with their proposal for the redevelopment," Studio Job founder Job Smeets told Dezeen.
"So my idea was to use the back of the building, which was an unused space but had potential to be a connection between the art church and the art cinema."
Smeets hand-crafted the 13-metre-tall sculpture, described by the studio as a "surrealist take on classical church windows," from bronze and pigmented glass.
The final design features two undulating "windows" that seem to stretch towards each other above a smaller, central window.
Each is housed within the same large, textured bronze frame, which culminates in a decorative two-metre high cockerel sculpture at the top weighing 300 kilograms.


▲ 它被设计成对传统彩色玻璃窗的现代诠释
It was designed to be a modern take on traditional stained-glass windows

“青铜的优点是它非常柔韧，你可以做任何形状，而且它是液体，所以我可以做出任何形式。”Smeets 解释说。

“青铜是我作品的重要组成部分，在我的工作室中，我们完成了从自然形态到最终抛光和绘画的每一步。”他补充道。

“青铜结构让我想起了工业金属铸造和旧桥的工业钢梁。我想成为城市中的一颗明珠，一件珍贵的东西——甚至是一个华丽的珠宝盒。”

选择使用青铜是因为工作室经常使用这种材料，Smeets 说这种材料既完全耐用又完全可回收。

The choice to use bronze was based on the fact that the studio has often worked with the material, which Smeets said was also both completely durable and fully recyclable.
"The advantages of bronze is it's very pliable; you can do it in any shape and it's liquid so I can make any form," Smeets explained.
"Bronze is a significant part of my work; in my atelier, we do every step of the process from the natural form to the final polish and painting," he added.
"The bronze structure reminds me of the industrial metal casting and the industrial steel girders of old bridges. The final look I wanted to be a jewel in the city, something precious – maybe even an ornate jewelry box."


▲ 铜框底部搁在四尊龟背上
The bottom of the bronze frame rests on the back of four tortoise sculptures

青铜框架由四只手工雕刻的青铜乌龟支撑，龟壳位于其上。

根据工作室的说法，这些是根据古代亚洲习俗设计的，在房子后面放一只乌龟可以提供“保护和智慧”。

镶嵌在青铜中的玻璃窗朝外，而不是像教堂窗户通常那样朝内。

所描绘的人物大致基于传统上在彩色玻璃窗上看到的人物，但已进行了现代更新。

The bronze frame is held up by four hand-sculpted bronze tortoises on whose shells it rests.
These were designed in reference to an ancient Asian custom where a tortoise placed at the back of the house gives "protection and wisdom," according to the studio.
The glass windows set into the bronze face outwards, rather than inwards as church windows usually do.
The characters depicted are loosely based on those traditionally seen on stained-glass windows, but they have been given a modern update.


▲ 雕塑呈波浪形
The sculpture has an undulating form

其中有一个被 Smeets 描述为“带着风车的耶稣被鸡攻击”的人物，以及一个以 Smeets 的儿子为原型的长着恶魔角的孩子。

“如果你看许多教堂，你会经常看到恶魔般的生物，经常出现在浮雕和雕塑中，尤其是在比利时的教堂上——这些动物很可怕，也许也是为了保护建筑物或吓唬你，这是一个非常经典的想法。”Smeets 说。

“所以对我来说，他是建筑的守护者，也是以我儿子的魔性为原型。”

Among them is a figure that Smeets describes as "Jesus with a pinwheel being attacked by chickens", as well as a child with devil's horns based on Smeets' son.
"If you look at many churches you see constant references to devilish creatures, often seen in reliefs and sculpture, especially on the churches in Belgium – animals that are scary, maybe it's also to protect the building or to scare you, it’s a very classical idea in many cultures," Smeets said.
"So for me, he's a guardian of the building, he's also based on my son who has a devilish nature."


▲ 中央窗口描绘了一个基于 Smeets 儿子的孩子
A central window has a depiction of a child based on Smeets' son

窗户背后的想法，还有火箭、蜜蜂、蝴蝶和炸弹，是为了让人们越靠近就能看到更多的东西。 对 Smeets 而言，这些设计是经典设计的自然演变。

“图像是一个融合了现代元素的家庭场景。”他说，“教堂的窗户总是结合当时的参考，这也不例外。”

Smeets 希望这座建筑能成为引人注目的地标和新公共广场的开端。

The idea behind the windows, which also feature rockets, bees, butterflies and a bomb, was for people to see more things the closer they look. To Smeets, the designs are a natural evolution of classic designs.
"The imagery is a family scene with modern elements integrated," he said."Church windows have always incorporated references of the time, this is no different."
Smeets hopes the building will become an eye-cathing landmark and the beginning of a new public square.


▲ Smeets设计的雕塑从内部看也是具有装饰性的
Smeets designed the sculpture to also be decorative when seen from the inside

“从内部，你可以看到五彩缤纷的细节，到了晚上，建筑呈现出新的形式，窗户从里面发光，真的很漂亮。” Smeets说。

“我将窗户设计为朝外——教堂的窗户通常只有里面的人才能看到，因此我希望外面的人也能看到。”他补充说。

“当我们安装它时，邻居已经下来感谢我们从他的屋顶露台上看到了新的两米高青铜鸡。”

Studio Job 之前曾为布宜诺斯艾利斯的一个艺术中心设计彩色玻璃窗，并为其自己的安特卫普总部提供了极简主义的室内设计。

摄影：Jeroen Musch

The sculpture was also deliberately designed to be appreciated from both the exterior and interior of the arts centre, where a cafe is located.
"From the inside, you get this multicolored detailed view and in the evening the building takes a new form and the windows glow from the inside, its really beautiful," Smeets said.
"I designed the windows to face outwards – church windows usually are only to be seen by the people inside, I wanted to make this for everyone outside," he added.
"Already when we were installing it, the neighbor came down to thank us for the new view of the two-metre high bronze chicken from his roof terrace."
Studio Job has previously designed stained-glass windows for an art centre in Buenos Aires and given its own Antwep headquarters a maximalist interior design.
The photography is by Jeroen Musch.